340 Changes in Form and Style in Randai Performance at The Minangkabau Diaspora in Malaysia Indrayuda Indrayuda1, Mohd Effindi Samsuddin2 1Universitas Negeri Padang, Indonesia 2Universiti Malaya, Malaysia Submitted: 2021-09-16. Revised: 2021-11-29. Accepted: 2021-12-26 Abstract This article reveals the changes in form and style of the Randai performance performed by the Minangkabau’s diaspora in Malaysia. The novelty of this research is the study of changes in forms and styles in Randai carried out by the Malaysian Minangkabau diaspora. The disconnection of socio-cultural communication and the long distance between Minangkabau and Peninsular Ma- laysia impacts the shift in forms and styles of Randai in the Minangkabau diaspora. This research was conducted qualitatively by designing research works such as pre-field studies, by collecting preliminary data based on a diffusion approach. In the field stage, the informants were selected by snowball sampling. The interview and observation instruments were designed based on the performance structure and performance procedures. Researchers conducted data analysis using the techniques recommended by Spradley, namely: (1) domain analysis, (2) taxonomic analysis, (3) componential analysis, and (4) discovering cultural themes. The study results revealed that the forms and styles were caused by mixing cultures between the diaspora and the Malaysian Malays. These changes were done so that the local community could accept Randai. In addition, Randai can be easily learned and cultivated by the Malay Malays and easily expressed by the Ma- laysian community and the Minangkabau diaspora as the perpetrators of Randai. These changes occur through a process of adaptation and acculturation. The implication of this research is the emergence of a new Randai model, namely Randai, which refers to local culture, both from the as- pect of the story, Silat style, and music, as an identity and tradition for the Malaysian Minangka- bau diaspora for the future. Keywords: Shape and style; Randai; Minangkabau diaspora How to Cite: Indrayuda, I., & Samsuddin, M. E. (2021). Changes in Form and Style in Randai Performance at The Minangkabau Diaspora in Malaysia. Harmonia: Journal of Arts Research And Education, 21(2), 340-355 Harmonia: Journal of Arts Research and Education 21 (2) (2021), 340-355 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i2.32043 identity. Randai cannot be separated from the practices of Silek (Silat) and dance (Hs, 2014). These two elements have been close- ly associated with Randai in the various re- gion in West Sumatra. Hadijah (2019) said Randai is an art that expresses various local wisdom of the Minangkabau community. Randai, as the identity of the Minangkabau community, can bring out the character and characteristics through motion, music, and dialogue (Primadesi, 2013). INTRODUCTION The issue of Randai Minangkabau art has been written by many experts and researchers at various universities both in Indonesia and abroad. As Pauka (1998, 2016) mentioned, the results of his rese- arch revealed that Randai is an art of mo- tion and theater rooted in the art of Pen- cak Silat. Pauka’s assertion is on the issue of the martial art of Silek (Silat) as Randai’s Corresponding author: E-mail: yudaindra@fbs.unp.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Indrayuda Indrayuda & Mohd Effindi Samsuddin, Changes in Form and Style in Randai 341 The development of Randai as an ob- ject of study and performance has resulted in various new researches by academics at home and abroad. Research conducted by academics is generally more focused on Randai aesthetics, which discusses the artistic aspects of Pencak movements (Rus- tiyanti et al., 2013) and (Adnan & Bujang, 2014) publishing about Randai as an artis- tic and comprehensive performing art. The artistic aspect is prominent in the techni- ques of Pencak and Galembong clapping. The issue of Randai continues to emerge along with the many results of research on Randai, where Randai is an abstract theater in which the show does not use a stage setting (Arsih et al., 2019) and (Yuda et al., 2020). Maryelliwati (2019) confirms that Randai is played in an arena close to the players and the audience and is a form of collaboration between elements of the performing arts. Indonesian people know that Randai is a cultural heritage of the Minangkabau people from various villages in West Su- matra. Randai also participates in migra- ting along with the migration of its po- pulation to other areas. Rustiyanti (2014) explained that Randai is supported by the people who live in West Sumatra and the distribution area of the community. Samad Bin Kechot (2009) said that the folk theater in Seremban Malaysia is a form of Randai performance originating from Minangka- bau. Listening that Randai as one of the lo- cal wisdom of the Minangkabau commu- nity can be used as a medium in develo- ping the nation’s cultural values. It means that the emphasis is on local values and wisdom (Arsih et al., 2019). In Randai, the- re are historical values and local wisdom, which explore the values of past lives as a guide for present and future life (Hadijah, 2019). The current issue, namely Randai, has developed as the national cultural identity of the Malaysian people, especially in the Negeri Sembilan area. The existence of Randai has been developed by the tradi- tional artists of Negeri Sembilan, such as Mazdar Abdul Aziz, Ramzi, and Pak Man Kampa (Latiff, 2014). Today Randai has been played to the accompaniment of mo- dern musical instruments. Because Ran- dai was considered ancient, changes were made to the costumes, and the roles that men usually played were now adapted to their real roles (Rahmat & Adi Rahmad, 2020). The creative process in making a work of performing art is manifested in a series of actions from the artists. This pro- cess can be seen as a manifestation of adap- tation to societal changes through creativi- ty or creative abilities that are collective in maintaining the traditional arts belonging to the community, as happened at the Ran- dai show in Malaysia (Agustini, 2019). One of the distribution areas of the Minangkabau ethnic group in Malaysia, anthropologically for Diaspora communi- ties wherever they migrate, always include their culture, so that Randai grows and de- velops in Malaysia today. The distribution of the Minangkabau ethnic group in Pe- ninsular Malaysia impacts the wealth of Malaysian cultural heritage. The Minang- kabau diaspora has contributed to the cul- tural heritage of the Malaysian nation to this day. Arif Mundayat (2016) explained that there is a large distance difference between West Sumatra and Malaysia and the ac- culturation of the Minangkabau Diaspora with other ethnic groups in Malaysia, it is suspected that there will be a change in the style of Randai performances (Guntoro, 2020) and (Kaesthi, 2014). Cultural globali- zation has occurred both within Diaspora Minangkabau or the local community, and its impacts change in values and the art form itself. (Indrayuda et al., 2020). The universal phenomenon responds to the cultural transformation in people’s lives. They have reasons to struggle with certain cultural groups and seek to make various changes to achieve their collec- tive goals (Guntoro, 2020: 24). Guntoro’s concept above has been applied in Randai performances in Malaysia; the Randai ar- tists have made various changes to achieve Harmonia: Journal of Arts Research and Education 21 (2) (2021): 340-355342 Randai’s existence in a heterogeneous Ma- laysian society. Kaesthi (2014) and Nadjamuddin and Sahriana (2017) said that societal changes started from the community’s response to global developments from all walks of life around it. Randai, as part of the culture of the Minangkabau Diaspora community in Malaysia, is affected by the socio-cultural changes of the local community (Kumala Sari & correspondence, 2018). The reality is that various popular performing arts sty- les have emerged, affecting the perspecti- ve and artistic taste of the people towards Randai (Indrayuda, 2014). The novelty of this research is to re- veal the existence of Randai as part of the cultural arts of the Minangkabau Diaspo- ra community in Malaysia, which cultural researchers have not widely studied. Ran- dai researchers generally question cultural identity, performance structure, music and movement in Randai, educational values in Randai, and all of that is studied in the socio-cultural life of the local community (Minangkabau in West Sumatra). The stu- dy of Randai in the Minangkabau Diaspora has never been published. Another issue concerns the form and style of Randai per- formances outside the context of the origi- nal owner’s community, such as Randai in the Malaysian Minangkabau community. One of the important things in this research is that Randai has become the new cultural identity of Malaysian society. The reality is that Randai continues to develop as a performing art of the Minangkabau Diaspora in Malaysia. METHOD This study was designed with a qualitative approach that is explanatory (Creswell, 2015) and phenomenological (Hesse-Biber, S., & Leavy, 2011). The study transformed Randai’s performance style, ethnography, socio-culture, artistic per- formances, cultural identity, and cultural diffusion. This Randai is found in the Di- aspora community of the Minangkabau ethnic group in Malaysia, precisely in Ku- ala Lumpur. This research is focused on changes in Randai’s performance style in the Diaspora Minangkabau society of Ma- laysia. In the pre-research, a preliminary study covered the forms of Randai perfor- mances in Kuala Lumpur. Initial observa- tions were made by gathering information about Randai’s presence in Kuala Lumpur and his relationship with the Minangka- bau Diaspora. In addition, preliminary information was also collected about the existence and forms of Randai and the cha- racteristics of the artists in West Sumatra for comparison. All data obtained in the pre-field re- search were collected and then carried out discussions related to the research team. This discussion aims to develop research instruments and tools that can assist rese- archers in field research. The research team prepares the research design and comple- tes all instruments in the pre-field research, including interview instruments, observa- tions, and performance instruments. During the field research, informants were selected by snowball sampling so that the key informants were artists or artists who were directly involved with Randai performances. Interviews were conducted because this research is phenomenological (Leavy, 2017). Interaction with informants was car- ried out intensively and guided by rese- arch instruments. Furthermore, periodic observations on structural aspects are con- ducted either in the studio or on the perfor- mance stage. Observations included struc- tural aspects such as the initial section, the legal section, the Pasambahan section, the Dayang Daini song section, the Legaran sec- tion for each round, and the Simarantang Randah and high simarentang sections, and the closing Galombang section. Obser- vations are also on the script, how the form of the script, what story is told, whether it is a story about the life of the Minangkabau people in the past or the present. Triangu- lation is carried out in data collection and analysis so that the data obtained reaches a level of accuracy. After field research, data dissemina- Indrayuda Indrayuda & Mohd Effindi Samsuddin, Changes in Form and Style in Randai 343 tion, and research results were carried out; data analysis was carried out with the fol- lowing steps: (1) domain analysis, (2) taxo- nomic analysis, (3) componential analysis, and (4) discovering cultural themes (James P. Spradley, 2016). Evaluation is done by verifying the data and the performance against the pre- sented style. Then the results of the rese- arch were revised after going through a review by experts from performing arts, cultural anthropology, and Randai. Researchers revise all the analysis re- sults obtained from the study results, refi- ne all related aspects of the entire research, and report the research results. RESULT AND DISCUSSION Randai in the Minangkabau Diaspora and Its Present Presence in Malaysia The Minangkabau ethnic group is known as one of the nomad ethnic groups in the archipelago. The spread of the Mi- nangkabau ethnic group has started from the Sriwijaya, Majapahit, and Malacca kingdoms until the colonial era in the ar- chipelago. The distribution area of the Minangkabau ethnic group is generally around the Southeast Asian region, the majority in the Malay Peninsula area. The Minangkabau diaspora migra- ted to the Malay Peninsula (Malaysia), beginning with King Melewar in 1773 by the people of Negeri Sembilan. Previous- ly, King Melewar defeated another son of King Pagaruyung, namely King Khatib. Since that era came the first wave of the Minangkabau Diaspora in large numbers. The Minangkabau diaspora first settled in the area around the Sri Menanti Palace, Je- lebu, Rembau, then spread to Kuala Pilah, Tampin, and towards Value. Negeri Sem- bilan as the largest base of the 17th centu- ry Minangkabau Diaspora (Zuraidi et al., 2020). The Minangkabau diaspora as an “emigrant” (nomads) ethnic group had a very prominent influence in Negeri Sembi- lan in the 17th century, so they were given the title as colonists from Sumatra (Negeri et al., 2018). However, it is difficult to deter- mine what year the Minangkabau Diaspo- ra came to the Malay Peninsula because their traces can be estimated to have come before establishing the Malacca Kingdom. According to Reniwati (2016), the massive migration of the Minangkabau ethnic group to the Malay Peninsula began since the fame of the Malacca kingdom in the 15th century because of the good rela- tionship between Pagaruyung and Malac- ca. The Malacca Kingdom made it easy for the Minangkabau people to migrate. The presence of the Minangkabau people in the Negeri Sembilan, Malacca and Selan- gor areas has led to cultural contact with the natives, resulting in assimilation. Since the Minangkabau Diaspora mostly resides in Negeri Sembilan, the culture of Negeri Sembilan has been contaminated with Mi- nangkabau culture, which has led to the development of Minangkabau culture in Negeri Sembilan to date, one example of which is the Perpatih custom (Azmi et al., 2021). Many Minangkabau tribes gather in Negeri Sembilan, Selangor, Perak, and a small number in Malacca and Pahang, re- quiring a cultural identity to unite them. The Minangkabau Diaspora uses this cul- ture in interacting with their fellow com- munities overseas. Diaspora groups can also carry out their traditional cultural ac- tivities, even though they are far from their hometown. According to Sugiarti (2015), a di- aspora is a community of immigrants who leave their country in groups, and in a new place, they form a social force within the territory they control. Along with that, di- aspora or migration is a phenomenon that has been in effect since the colonial and pre-independence eras in Indonesia. They form groups and live in groups in new pla- ces and emerge their identity by inheriting their customs and culture from their ho- meland (Jazuli et al., 2017). One of the informants, a cultural ex- pert from Negeri Sembilan, explained that the existence of the Minangkabau Diaspo- ra had given rise to Minangkabau culture Harmonia: Journal of Arts Research and Education 21 (2) (2021): 340-355344 as a new local culture. Many Minangka- bau tribes living in various countries will be able to see a picture of the MinanagKa- bau country, far across the sea. People of Negeri Sembilan will be able to see perfor- mances of Minangkabau dance, Silat, Cak Lempong music, and Randai among them in Rembau, Kuala Pilah and around the Seri Menanti Palace. Cultural fanaticism and identity are the causes of Minangkabau Diaspora cul- ture in other countries. The sense of cultu- ral romanticism has caused the Minang- kabau Diaspora to develop Randai to meet their socio-cultural needs in the overseas area. Cultural values are a socio-cultural glue for society. This phenomenon makes the diaspora in a country make their cultu- ral existence the glue of friendship and kin- ship among immigrants (Boanergis et al., 2019). Boanergis said that cultural values and a sense of fanaticism of the Minang- kabau Diaspora in Malaysia had impacted Randai’s popularity in Malay society. Randai’s growth has started in Ma- laysia, especially in Negeri Sembilan, since the early 19th century, after the relations between Negeri Sembilan and Minangka- bau were well established again. This peri- od is a period of preparation for indepen- dence both in Indonesia and Malaysia so that the flow of distribution of the Minang- kabau tribe is increasingly crowded into the Malay Peninsula (Malaysia). With the increasing population of the Minangkabau Diaspora, they internalize the culture of their native land in their community, one of which is Randai. By cultural diffusion, the distributi- on of the population from one place to another results in the spread of certain cul- tures. Like the art of Randai, as a culture of the Minangkabau community, it also developed and spread along with the mi- gration of the Minangkabau people to the Malay Peninsula/Malaysia. Diffusion has led to forming a new culture in the immi- grant community. Then the culture is de- veloped through adaptation to become the diaspora’s identity in a new place (Siswan- tari et al., n.d.). Like Randai in the Minangkabau di- aspora community in Malaysia, Randai remains a culture of immigrants from Mi- nangkabau and continues to develop into the Malay population of Malaysia. In the 1960s, Randai was widely known among the Malaysian Minangkabau Diaspora and the indigenous Malays (Latiff, 2014). Based on his movement, the first Randai shown is like the Silek Galombang movement, which many Minangkabau migrants carried out along with Minang- kabau descendants who had long lived in Malaysia. This event occurred before Malaysia’s independence, around 1940 to 1950 in Ulu Muar, Kampung Gagu, Jelebu, and Labu, and around the Selangor area, such as Gombak, Salak, and Bangi. Randai grew in Malaysia when Tun Abdul Razak became Prime Minister (1970- 1976), where Indonesia-Malaysia diploma- tic relations reopened. In 1974, Malaysian culturalists who were part of the Minang- kabau Diaspora re-established cultural re- lations in the form of cultural exchanges. Through cultural cooperation between the Province of West Sumatra, which Gover- nor Harun Zain then led, then re-knitted allied relations, especially between Mi- nangkabau and Negeri Sembilan. As a re- sult, artists from Randai Negeri Sembilan studied back in West Sumatra, and some artists from West Sumatra taught Randai in Malaysia, especially in the Minangkabau Diaspora in Negeri Sembilan. This event was continued in University areas such as UM and Aswara, initiated by Tan Sri Dato’ Seri Utama Dr. Rais Yatim as a Malaysi- an Minangkabau Diaspora. Previously, he was the Minister for Negeri Sembilan (1978-1982) and the Minister of the 5 Prime Ministers of Malaysia, who cared deeply about Randai. Today many Malaysian artists re- learn the history and culture of their an- cestors to West Sumatra. In addition, West Sumatran artists also teach Randai in Ma- laysia, namely Afrizal, Musra Dahrizal, Zulkifli, Dhamir Amin, and Wisran Hadi. Various performing arts groups, such as Indrayuda Indrayuda & Mohd Effindi Samsuddin, Changes in Form and Style in Randai 345 the Syofiani Group, the Yusaf Rahman Group, and the Indojati Group, also provi- de workshops and training for Randai and Minangkabau dance and music Seremban Negeri Sembilan, Malaysia. Other contributions from Tan Sri Dato’ Seri Utama Dr. Rais Yatim against Randai are to develop Randai in the Minang- kabau Diaspora in Malaysia and several universities in Malaysia, such as Universiti Malaya and ASWARA to date. While ser- ving as Minister of Culture, Arts & Herita- ge (KeKKWA) (2004-2008), Minister of Fo- reign Affairs (2008-2009), and Minister of Information, Communication, and Culture (2009-2013), he has done much developing Randai arts as part of the Malaysian Natio- nal culture. which is also the identity of the Malaysian Minangkabau Diaspora. He ini- tiated various performances, training and workshops, and learning and cultivating Randai. This development of Randai has in- volved the Malaysianization of the Randai art form, both within the Minangkabau Di- aspora and among Malaysians in general. The reality is that Randai has now developed far in Malaysia and has become a lecture material at the Academy of Arts and Culture and National Heritage (AS- WARA) and the Academy of Malay Stu- dies and the Center (Faculty) of Culture Universiti Malaya. Various performing arts communities in Malaysia also study Randai, one of which is the Randai Palimo Col- lection with direction and artistic directi- on by Mohd Effendi; choreographer and coach Ramzi; and the Main Teacher (Tuo Randai), namely Mazdar Abdul Aziz (Pak Pen), as well as Production Randai Univer- siti Malaya, in collaboration with the Stu- dent Affairs Section of Universiti Malaya. In addition, there is a Randai Puti Nilam Sari workshop and production facility at ASWARA Kuala Lumpur. Other Randai associations also include residents of the villages of Gagu and Jelebu and Ulu Muar Negeri Sembilan, and in Kampung Puah Gombak, Kuala Lumpur and Selayang, Se- langor which are managed by the Minang- kabau Diaspora. Seeing that Randai has become the cultural identity of the Malay population of Malaysia, various universities and art academies include Randai in their curricu- lum. Randai has grown among students. Students have become cultural agents for the continued development of Randai in Malaysia. Only the Randai Palimo Universiti Malaya group is routine and has comp- leted production management in the last two decades. The Randai Palimo Asso- ciation is growing with the addition of members and is actively performing at the national level. This group has many gene- rations of young people consisting of the student community and lecturers at UM and is supported by members from other universities such as UiTM, UPSI, UKM, UPM, and ASWARA. The Randai Palimo Universiti Malaya group has inherited the Ranndai from the Randai Laman Merewa College. This effort was done because the interest and heir of Randai in the village area of Baranang Negeri Sembilan had decreased. Since 2011 with the concept of art education as a performing arts com- munity, the Randai Palimo group began to train, open up opportunities and accept new members from students from various fields/departments from inside and out- side the Malay university, to become stu- dents and at the same time the heirs of the Randai group, Palimo, to date. The Process of Adaptation and Accultura- tion in the Form and Style of Randai Per- formances Based on the results of data analysis from interviews, it was found that the de- velopment of Randai in Malaysia occurred in three periods. The three periods are in- fluenced by their respective histories, ac- cording to the conditions of the diaspora and cultural growth within the diaspora, and their relationship with the indigenous people of Malaysia and their government. In addition, the three periods have their respective impacts on the Minangkabau Diaspora and its culture, namely Randai. In the first period, before Malaysia’s independence era between 1940-1950, Ran- Harmonia: Journal of Arts Research and Education 21 (2) (2021): 340-355346 dai was mostly performed in Pencak Silat celebrations (Mancak Silek Galombang), which included elements of Kaba or Gurin- dam were rarely performed, which is often performed by Randai in the form of Silek Galombang. In the second period, around the 1960s, many Randai groups, one of which was in Kampung Gagu, performed using Gurindam or Kaba. The story comes from the Randai story used in West Sumatra, the land of origin of the Minangkabau Diaspo- ra. In the third period, from the 1990s to the 2000s, Randai has entered the academic area of ASWARA, APM UM, and UM Cul- tural Center and various professional dra- ma and theater groups in Kuala Lumpur. Randai has actively developed new packa- ging in this period, both from stage setting, music, dialogue, presentation style, play form, and theater actors. There is a piece of information from Malaysian about Randai figures that Randai has undergone acculturation. This event happened due to the cultural contact bet- ween the Minangkabau Diaspora with the indigenous people of Malaysia and with another diaspora such as Bugis and Su- matran Malays. This acculturation process resulted in various forms of Randai perfor- mances, both from the aspect of the story, which was adapted from contemporary stories in the Minangkabau Diaspora com- munity and traditional Malaysian society. Cultural marriages in Randai perfor- mances can also be found in the form and pattern of costumes and music. In additi- on, Silat techniques have also undergone acculturation between Silek (Silat) Tuo Mi- nangkabau with Silat Cekak or traditional Silat found in Pahang, Selangor, and Nege- ri Sembilan (see Figure 1). The dialect in the Randai show has been much adapted to the Malay dialect. The stories shown have also undergone a process of adaptation to adapt to the cur- rent conditions in Malaysian society. This process is aimed at the development of Randai itself among Malaysians. Thus, Randai has adapted a lot to some stories of the Malay people of Nege- ri Sembilan, which also have similarities with the story setting found in West Su- matra. Figure 1. Adaptation Process in Silat Tech- niques At Randai Palimo. (Documentation by Mohd Effindi Samsuddin) Referring to the reality of Randai in Malaysia, it turns out that adaptation and acculturation were carried out to save the sustainability of Randai’s growth in the Malay Malay community, especially the Minangkabau diaspora. The adaptation process is carried out so that the style and taste are relevant in the Randai performan- ce with the emotions of the local Malay community. With an emphasis on cultural, emotional adjustment, Randai can easily be cultivated and taught in a multi-ethnic so- ciety in Malaysia. Halim and Mahyuddin (2019) said that acculturation in a cultural context en- riched old cultural products such as art. Acculturation is done by adding variations or collaborating patterns of culture that in- tersect with the original culture of the cul- tural roots of the art owner (Setyawan et al., n.d.). That statement is in line with Sriwa- hyuni et al. (2021) and Wekke (2013), who say that acculturation is needed to perpe- tuate the existence of these works of art in society. Other information was obtained from a Randai expert in Kuala Lumpur that the acculturation process was carried out to determine the existence of Randai as a culture of the Malay population in Malay- sia. Randai performances have adapted to Indrayuda Indrayuda & Mohd Effindi Samsuddin, Changes in Form and Style in Randai 347 western theater patterns and Malay tradi- tional theater patterns, such as in Randai Cindua Mato, performed at the Cultural Palace in 2016. Cultural contact between one culture and a new or emerging culture is a moder- nization step in art (Valindyputri & Elfira, 2021). With acculturation, the aesthetic wealth of art forms and styles is increa- singly valuable because of the innovation in the work (Destiana, 2012). The reality of what happened to Ran- dai performances in Malaysia turns out that the acculturation process carried out by Randai artists is a form of moderniza- tion of Randai. With the modernization of Randai, the fact is that Randai is further de- veloping, both quantitatively with the in- crease in the number of Randai groups in Malaysia and qualitatively new modifica- tions by Randai appear. It turned out that from some infor- mation obtained from informants, it was concluded that the adaptation process was carried out to bring Randai closer to local culture and traditions. Several accultura- tions occur, such as acting, dialogue, per- formance procedures, Silat techniques in Legaran, songs, or dances. This accultura- tion makes Randai more grounded in Ma- laysian society, belonging to the Minang- kabau Diaspora and Malaysian citizens. An adaptation and acculturation process is needed to maintain the existence of the work of art. (Savitri & Utami, 2015). Traditional art from a Diaspora requires adjustment to its environment (Dwija- yanto, 2017). The failure of a Diaspora art to survive in a new environment is caus- ed by never adapting to its environment (Pamungkas, 2018). The acculturation and adaptation efforts carried out by Randai artists, both in the Minangkabau diaspo- ra or Malay Malay artists, are expected to strengthen Randai’s presence in Malaysian society. Adaptation becomes a tool or means to maintain existence within the scope of others (Ninik & Fortune, 2007). The com- munity does not accept many works of art because they do not carry out the adapta- tion process (Gunardi, 2014). Adaptation is needed to get recognition and support from the new environment that protects it (Dwijayanto, 2017). The form of adaptati- on can be seen in Figure 2. Figure 2. Adaptation of Legaran and the Role of Figures in Randai Cindua Mato JKKN Kuala Lumpur (Documentation of Indrayuda) Adaptation harmonizes the old form and can be used in the present. When the adaptation is done, it can perpetuate civi- lizing the arts in society (Yanuartuti et al., 2020). We can see this in the Silat techni- que. With adaptation, the Silat game in the celebration will still survive in the Randai performance. The existence of human mixing in one place causes acculturation in both lan- guage, literature, and works of art (Min- targo, 2017). The existence of acculturati- on adds newness to the artwork (Yusuf, 2020). An expert from Randai Palimo Ma- laysia explained that acting, gestures, and Silat are more adapted to the existing Silat in Malaysia because the actors lacked the enrichment of the original Minangkabau Silek. Acculturation in Silat can be seen in the traditional martial arts technique with the Silat technique in collaboration with the Tuo Silat technique. The adaptation aims to ensure the sustainability of Randai in the supporting community in Malaysia. Minangkabau nomads often carry out the adaptation process with the term where the earth is stepped on there, langik dijun- juang (Paetzold & Mason, 2015). In detail, based on the observations of researchers and from the conclusions of Harmonia: Journal of Arts Research and Education 21 (2) (2021): 340-355348 interviews with informants, the adaptati- on process that has been carried out are (1) Silat movement techniques in Legaran; (2) dialect in dialogue; (3) musical equipment; (4) rhythm pattern for accompaniment music; (5) songs/drums; (6) configuration; (7) costumes; (8) performance procedures; and (9) how to act. For more details, the process of adap- tation and acculturation is described in de- tail below. Martial arts techniques in Legaran The adaptation is done by doing high horse movements. Balabek is not comp- letely done. The range of offensive and defensive moves in the Legaran is rarely used. The series of attack and defense mo- vements were replaced by the Galombang movement, a mixed Malay and Minang version of Silat. Acculturation occurs in a combination of Silat techniques, namely between Silat techniques (Silek) Tuo, ku- mango, and staralak with Silat Cekak and Gayong from Malaysia. Dialogue in the dialogue performed by actors and actresses Adaptation in the dialect is the ad- justment of the Minangkabau language dialogue with the Malay dialect of Negeri Sembilan. Some also use the Malay lan- guage. The acculturation is a mixture of languages in the Randai Show, but it still highlights the Minangkabau linguistic sen- se. There is a mixture of language in some parts, such as comedy. Musical equipment Music equipment has been adapted to Malay musical equipment. If there is no Katindiak drum, then Malay drums are used. The Talempong instrument of the procession is adapted to the sitting Cak Lempong. Rhythm patterns for accompanying mu- sic The rhythm pattern is adapted to the Malay drum rhythm pattern and the drum rhythm pattern in Negeri Sembilan. Me- anwhile, acculturation is done by mixing musical compositions in the procession, namely combining Cak Lempong music pat- terns with Malay drum music patterns and Malay melodic rhythms. Song/Dendang Some songs/Dendang are adapted to Malay songs and songs or Dendang in Ne- geri Sembilan. Meanwhile, acculturation is performed on the rhythm of resentment and resentment poetry. The rhythm of the resentment was influenced by the rhythm of Negeri Sembilan and the Malays. Configuration The wave prologue is adapted to the Negeri Sembilan wave pattern, which is flooded and swaying. Legaran patterns are adapted to Malay theatrical patterns such as Randai Cindua Mato. Meanwhile, accul- turation is done by mixing configuration models, then symmetrical and symmetri- cal models are formed, and large and small circuits. Costume Deta is adapted to Tanjak. Baju ku- rung is adapted to the Malay style baju ku- rung, teluk belanga is adapted to the Ma- lay version of Negeri Sembilan. Endong is still used as the original Randai. Except for the clothes of figures who have adapted to Malay clothing. Meanwhile, acculturation is done on the motifs, shapes, and costu- mes patterns. The Malay edit model is sometimes mixed with the Minangkabau edit model if there is a role of Bundo in the story. If Teluk Belanga, the crown is Tanjak Melayu, but the pants are like MinagKabau with the side. Performance procedures The procedure of the show has been adapted to the manners and decency of the Malays, who in Malaysia live in the con- text of a monarchy. While the Minangka- bau people live in a democratic system. Ways to act The background is adapted to the Indrayuda Indrayuda & Mohd Effindi Samsuddin, Changes in Form and Style in Randai 349 character of the Malays and the Minang- kabau Diaspora in Negeri Sembilan. There is a comedy aspect that is different from comedy in Minangkabau. In addition, the actor’s Silat gesture technique is different from Randai in Minangkabau, adapted to the pattern of steps and Malay Silat ges- tures that flow. Meanwhile, acculturation is done on character acting techniques. Traditional acting methods and styles in Malaysia often adopt representative acting methods. As in other traditional theaters such as Makyung, Bangsawan, Mek Mu- lung and Jikey and Bangsawan. Changes in the Form and Style of Randai Performances Randai is traditionally passed down from generation to generation in Minang- kabau has distinctive features and forms which generally have standard standards. Several aspects must be included in the Randai performance, including: (1) Story (Kaba); (2) dialogue and acting; (3) Gurin- dam (Dendang); (4) Legaran or Galombang. In addition, in the Randai performance, there must also be a mandatory song/ song, namely: (1) lady Daini for the be- ginning before entering the story episode, and then; accompanied by a song (2) Sima- rantang Randah to start the story; and (3) closing the story with a high Simarantang song, marking the end of Randai before all players leave the arena accompanied by the sound of Talempong Pacik and Gandang Sarunai. Based on the results of data analy- sis, it was found that the Randai developed in Malaysia was essentially still using the same sequence or arrangement as the ori- ginal Randai in Minangkabau. However, in substance, there are changes made, given the limited skills of its human resources. Changes in the form and appearan- ce of performing artwork can form a new performance style with modifications and collaborations (Sudewa, 2014). Changes in the performing arts are caused by one of them as an effort to defend themselves from external influences (Month, 2017). In addition, change is also an effort to protect art from extinction. Changes in the forms in the Gurin- dam, namely in the lyrics and the rhythm, are not the same as the original Gurindam in the traditional Randai in their homeland in West Sumatra. For example, in the low and high Simarantang dialeg, most musi- cians cannot master the original dance technique. Therefore, the form of Gurin- dam changes from the lyrics and melody and the rhythm. If it were forced to be the same as the original, there would be no Randai show in Malaysia. Change can inc- rease motivation, a sense of pleasure for art lovers so that art can survive in people’s li- ves (Fatrina & Yan Stevenson, 2018). Change is the dynamic nature of cul- ture and the influence of community dyna- mics concerning the advancement of edu- cation, economy, technology, and changes in people’s tastes and adaptation from the old to the new environment (Paneli, 2017). Randai activists are currently carrying out these changes in Negeri Sembilan and Ku- ala Lumpur, Malaysia. The Randai show in Kuala Lumpur has changed from the per- formance style and form of Randai produc- tion or the show’s packaging. Randai is performed with a different accent and rhythm from the actual Daini lady during the prologue. A typical Malay showman performs acting that sometimes has comedic elements. Gurindam lady Dai- ni has been adapted to the accent of Negeri Sembilan. Kato Pasambahan or known as Pidato Adat, in Randai in Malaysia no longer con- veys a summary of the Kaba (story) delive- red with classical Minangkabau literature. The opening wave is no longer carried out like the opening wave in West Sumatra but directly on the Pasambahan Kato. Especial- ly in the Randai Palimo Group, the open- ing Galombang is performed but not too much variety of motion, only a part of it. Meanwhile, Simarantang Randah’s rhythms and poems have been transformed into the Negeri Sembilan version of the Minangka- bau language, acculturated with the local language. Changes are made to exist and conti- Harmonia: Journal of Arts Research and Education 21 (2) (2021): 340-355350 nue amid the swift currents of the new cul- ture and the surrounding culture in pre- sent-day conditions (Moon, 2017). Change is also an effort to preserve traditional art adapting to the times (Sutrisno, 2010). The change of Randai in Malaysia aims to main- tain the existence of Randai as the cultural identity of the Minangkabau Diaspora. In connection with these changes, there are several changes in the role of Randai in Kuala Lumpur today. Actors often use gestures with acting techniques such as Malay playwrights and rarely use Minangkabau Silat techniques. Actors of- ten use collaboration techniques between Minangkabau and Malay styles, such as the Silat step pattern in conflict scenes by the actors. In the speech literature secti- on, actors or actresses in the middle of the festival use language more oriented to the MiangKabau diaspora, Negeri Sembilan. There are changes in literature and langu- age. In turn, the contents of Randai’s stories are easy to understand and understand by the audience. Changes in the performing arts are caused by efforts to internalize culture in the Minangkabau Diaspora (Dewi, 2017). These efforts were made to maintain the existence and sustainability of Randai in the Minangkabau Diaspora community in Malaysia. The popular Randai that has ever existed in Kuala Lumpur is Randai, with the title of the story and Randai itself, na- mely Randai “Cindua Mato.” Randai Cin- dua Mato, produced by JKKN, namely the State Department of Culture and Arts. This body takes care of all forms of culture and art in Malaysia. Each state or kingdom has a State Department of Culture and Arts (JKKN). JKKN Kuala Lumpur has fostered a group of Randai artists. This develop- ment was their newest production, Karya Randai, with Cindua Mato’s title. The artists who work on Randai Cin- dua Mato have made various fundamen- tal changes in the form and style of their performances. These changes included: (1) Randai Cindua Mato did not include the maiden Daini Gurindam in its initial part; (2) Randai Cindua Mato did not include Gurindam Simarantang Randah as the open- ing part for the introduction to the story scenes to be played by the actors; (3) the celebration is no longer a big circle like the Randai in West Sumatra, but more than one celebration in one stage; (4) there is a stage setting, while Randai in West Sumatra does not have a stage setting. In West Sumatra, the property is used as an explanation of acting, and is brought directly by the ac- tor/actress, and does not stay on the stage; (5) the style of performance has shifted to- wards modern plays; (6) the form of acting already uses modern techniques such as modern theater players; (7) music already uses electrical equipment; (8) Gurindam is no longer too much, but has been replaced with songs; (9) the performance procedure is oriented to the technique of working on modern theater or drama. Based on the way it is presented, Randai Cindua Mato has transformed from the Minangkabau tradition of Randai to a modern drama. Because structurally and in terms of performance, Randai Cindua Mato and traditional Randai in Minang- kabau society in West Sumatra are very different. Even compared to the Randai production of the Randai Palimo Kuala Lumpur association, Randai Cindua Mato is very different. Essentially, Randai Cindua Mato still plays the Kaba or story in the show, namely the Cindua Mato story, meaning that there is still Kaba conveyed by the actors and actresses. In addition, the law still exists, but it has changed a lot with the real Legaran from Randai in West Sumatra. Balabek and Galombang still exist in the Randai Cindua Mato show, but their place- ment is different from the previous Randai. So it can be concluded that the aspects that exist in Randai, such as Galombang, Legaran, Pencak, Kaba or stories, and Gurindam, still exist in Randai Cindua Mato. Howe- ver, the structure and composition of the choreography have changed completely, the pattern of work has also changed, the style of performance has changed, and the content of the Gurindam has also changed. Indrayuda Indrayuda & Mohd Effindi Samsuddin, Changes in Form and Style in Randai 351 Changes that occur in the form and style of Randai performances in Kuala Lumpur today are divided into several aspects of form: (1) story form (Kaba); (2) feast; (3) oral literature (literature in dialo- gue by actors/actresses; (4) configuration; (5) music composition; (6) content of Gu- rindam; (7) stage setting; (8) costumes; (9) form of poetry in Gurindam (see Appen- dix 1). Meanwhile, from the aspect of sty- le, it can be described here, namely: (1) the actor’s acting style; (2) the style of the Silat technique in the traditional dance; (3) the style of the song/Dendang; (4) the packa- ging style; ( 5) presentation style, (6) music style. The changes made by the Randai Pa- limo Collection with the Sijundai script are in the technique of appearing (opening) not accompanied by consistent proces- sions of Talempong Pacik and Gandang Sa- runai, sometimes using it and sometimes not using it. Randai Sijundai still uses the Daini lady, but the dialeg (Cengkok Mi- nang) of the song and the melody changes in the middle of the song. Apart from that, the AB-AB Gurindam of Dayang Daini and in part “B” was repeated twice, but in Ran- dai Sijundai, the form of the Gurindam was ABC. Examples of these differences are summarized in Table 1. Furthermore, there are differences in Gurindam Simarantang Randah between Randai Palimo and Randai performances in West Sumatra (Table 2). Listening to the Randai performance in West Sumatra, Gurindam Simarantang Randah explains the origin of the Randai collection. In addition to explaining the origin, it also explains the story (Kaba). In the show, Sijundai has not explained this. The Gurindam dialeg at the Sijundai per- formance is carried out with the Negeri Sembilan version, for example, the word kaei-bakaei; laie tabarito. Randai Palimo also does not use all of the Minangkabau Gurindam in every epi- sode of the Kaba or story that is played, but only some of the Minangkabau Gurindam. The Gurindam that was played was partly in collaboration with the Malay Gurindam and the Negeri Sembilan version of the Gurindam. The goal is to make it easier for musicians to recite the Gurindam. In ad- Table 1. Differences in Gurindam Dayang Daini between Randai Palimo and Randai Randai Palimo Randai in West Sumatera Mano sagalo niniak mamak Sarato sanak dan josudaro Rila jo maaf kami pinto Manola niniak, nan jo mamak Cukuik panonton, kasadonyo (repeated twice) Kami baRandai nan mudo-mudo Jiko kok salah maaf dipinto Sagalo kami anak-mudo-mudo Maaf jo rila,nan kami mintak Kami bamain, nan mudo mudo (repeated twice) Jari sapuloh nan kami pinto Pada penonton kasadonyo Randai dimulai molah lai (Meanwhile in West Sumatra, Randai only play 2 stanzas of Gurindam) Table 2 . Differences in Gurindam Simarantang Randah between Randai Palimo and Randai in West Sumatra Randai Palimo Randai in West Sumatera Alai alai tabang ko alai. Tabanglah tinggi tinggi pulo. Randai dah lamo tabangkalai… Kinikan kami ulang pulo. Kami nan dari kampung dalam. Dalam daerah rang piaman. (repeated twice) Kaba banamo siti baheram. Carito lamo rang piaman (repeated twice) Kaei bakaei rotan sago.. Nan takaielah dik akar baha.. Nan di langit laie tabaorito.. Jatuh ka bumi jadi Kaba Nan Sijundai namo curitonyo (In this section, only one stanza in gurin- dam simarantang randah) Harmonia: Journal of Arts Research and Education 21 (2) (2021): 340-355352 dition, the audience can be more familiar with the Gurindam. The rhythm pattern of music, espe- cially the drums, is also modified with the rhythm pattern of the Malay drum, which creates an element of dancing in the celeb- ration. Overall, the structure, substance, and essence are close to the authenticity of the current Randai in West Sumatra. Due to limited human resources and the influence of local culture, adaptation, and accultura- tion, the Sijundai script performance has a different form and style from Randai from West Sumatra. CONCLUSIONS Changes in form and style in Ran- dai performances in Malaysia, especially in Kuala Lumpur and Negeri Sembilan, occur in the structure, Gurindam, Kaba (story), literature in dialogue, and aspects of performance style, Silat techniques, and the configuration of the Legaran. In addi- tion, there has also been a change in the form and style of presentation, such as the presentation procedure and the existing presentation model that includes elements of Malay drama, as well as the inclusion of modern drama influences in Randai perfor- mances such as those produced by JKKN in Kuala Lumpur. Changes are made through a process of adaptation and acculturation. This pro- cess is intended so that Randai can be ac- cepted by the local community, especially the Malay Malay community in general and the Negeri Sembilan community in parti- cular, both in the Minangkabau Diaspora or in the native Negeri Sembilan commu- nity. Adjustments were made by Mazdar Abdul Aziz for the continuity of Randai in the Minangkabau Diaspora community in Malaysia so that Randai still exists in the culture of the Minangkabau people in Ma- laysia. Limited human resources in terms of skills affect the change in question. Ran- dai will continue to survive in the Minang- kabau Diaspora community, noting that adjustments continue to occur with the surrounding environment. However, cul- tivation and learning continue by referring and studying to Randai’s home country in West Sumatra. ACKNOWLEDGMENT Padang State University funded this research through PNBP funds with cont- ract number 1002/UN35.13/LT/2021. This research results from collaboration with the Academy of Malay Studies, Universiti Malaya. I want to express my gratitude to the Chancellor of Padang State University, Chancellor of Universiti Malaya, and the Dean of the UM Malay Recitation Acade- my. I also thank my key informants, na- mely Ramzi, the late Mazdar Abdul Aziz (Pak Pen), Pak Man Kampa, Fatimah Md Aris, Adika Zainal, Yusmar Afendi Mohd. Yusof, Mohd Effindi Samsuddin as colla- borators, Dasman Ori as informants from West Sumatra, and M. Halim and Hendri Yusuf, who provided data on the structu- re of the show and the procedures for the performance. With the help of the research team and informants, this research was made possible. I also thank the videographer team, Sandy, the data analysis team that cannot be mentioned one by one, and the research team members Darmawati and Susmiarti. REFERENCES Adnan, N., & Bujang, R. (2014). The Galom- bang of Indonesia: A Cultural Dance Transition in Process Galombang Indo- nesia: Proses Transisi Tarian Budaya. Agustini, D. P. (2019). Kelompok Musik Rejung Pesirah: Strategi Adap- tasi Pada Masyarakat Palembang. Tonika: Jurnal Penelitian Dan Peng- kajian Seni, 2(2), 27–37. https://doi. org/10.37368/tonika.v2i2.106 Arif Mundayat, A. (2016). Indonesia -Ma- laysia Cultural Network of Minangk- abau Diaspora: A Preliminary Find- ing. In Jurnal Melayu Bil (Vol. 15, Issue 2). Arsih, F., Zubaidah, S., Suwono, H., & Go- Indrayuda Indrayuda & Mohd Effindi Samsuddin, Changes in Form and Style in Randai 353 fur, A. (2019). The exploration of ed- ucational value in Randai Minangk- abau art, Indonesia. Journal for the Education of Gifted Young Scientists, 7(4), 1225–1248. Azmi, N. A., Idris, Z., & Kechot, A. S. (2021). Kesenian Randai sebagai manifestasi budaya masyarakat Per- patih di Negeri Sembilan. Malaysian Journal of Society and Space. Boanergis, Y., Engel, J. D., & Samiyono, D. (2019). Tradisi Mitoni Sebagai Per- ekat Sosial Budaya Masyarakat Jawa. Jurnal Ilmu Budaya, 16(1), 49–62. Bulan, I. (2017). Transformasi Kuttau Lam- pung Dari Beladiri Menjadi Seni Pertunjukan Tari Pedang. Jurnal Ka- jian Seni, 3(1), 58–68. https://doi. org/10.22146/jksks.29870 Creswell, J. W. (2015). A concise introduction to mixed methods research. Thousand Oaks, CA: SAGE. Destiana, E. (2012). Keroncong Stamboel Sebagai Bentuk Akulturasi Budaya Urban. Pedagogia: Jurnal Pendidikan, 1(2), 153. Dewi, H. (2017). Keberlanjutan dan Peruba- han Seni Pertunjukan Kuda Kepang di Sei Bamban, Serdang Bedagai, Sumatera Utara. Panggung, 26(2), 139–150. https://doi.org/10.26742/ panggung.v26i2.172 Dwijayanto, A. (2017). Migrasi, Adaptasi dan Tradisi Komunitas Muslim Jawa di Semenanjung Melayu. Eka Mayasari Sriwahyuni, D., Afandi, A., & Pendidikan Sejarah, P. (2021). Ma- syarakat Arab dan Akulturasi BUdaa Sasakdi Kota Mataram(Tinjauan Histo- ris). 6(1), 40–47. Fatrina, N. Y., & Yan Stevenson. (2018). Pe- rubahan_Dan_Keberlanjutan_Tari_ Balanse_Madam_Di_. Mudra, 33(1), 93–103. Gunardi, G. (2014). Peran Budaya ‘Mikanyaah Mundingâ€TM Dalam Konservasi Seni Tradisi Sunda. Pang- gung, 24(4). Guntoro. (2020). Transformasi Budaya Terhadap Perubahan Sosial di Era Globalisasi. Jurnal Asketik: Agama Dan Perubahan Sosial, 4(1), 22–33. Hadijah, L. (2019). Local Wisdom in Minangkabau Cultural Tradition of Randai. KnE Social Sciences. Halim, A., & Mahyuddin, ; (2019). Modal Sosial Dan Integrasi Sosial: Asimilasi Dan Akulturasi Budaya Masyarakat Multikultural Di Polewali Mandar, Sulawesi Barat. In online) Media Ko- munikasi Sosial dan Keagamaan (Vol. 12, Issue 2). Hesse-Biber, S., & Leavy, P. (2011). The practice of qualitative research (2nd ed.). Thousand Oaks, CA: SAGE. Hs, W. (2014). Dramaturgi Teater Rakyat Randai di Minangkabau. In Jurnal Ka- jian Seni (Vol. 01, Issue 01). Indrayuda. (2014). Problematika Tari Minangkabau. Humanus Vol 13 (2) 2014. Humanus, 13, 123–134. Indrayuda, I., Marzam, M., & Samsuddin, M. E. (2020). Randai as a Social Rep- resentation Minangkabau Society of the Past. Humanus, 19(1), 104. James P. Spradley. (2016). Participant obser- vation. Waveland Press, Inc. Kaesthi, E. W. (2014). Perubahan Sosial BUdaya Masyarakat di desa Wisata Karangbanjar Kabupaten Purbaling- ga Info Artikel. In 56 SOLIDARITY (Vol. 3, Issue 1). Kumala Sari, D., & korespondensi, A. (2018). The Influence of Socio-Cul- tural Changes to the Form of Randai Kuantan Art in Kuantan Singingi Riau. Catharsis, 7(1), 87–93. Latiff, Z. A. . & J. D. A. D. (2014). To Randai or Not to Randai. Asian Theatre Jour- nal, 545–557. Leavy, P. (2017). Research design: Quantita- tive, qualitative, mixed methods, arts- based, and community-based participa- tory research approaches. New York: The Guilford Press. Maryelliwati, W. R. K. A. (2019). Magistra Andalusia Jurnal Ilmu Sastra Main- tenance of Minangkabau Culture in Randai at Mungka Based on Educa- tion and Tourism. Magistra Andalu- sia, Jurnal Ilmu Sastra, 1, 44–53. Mintargo, W. (2017). Akulturasi Budaya Harmonia: Journal of Arts Research and Education 21 (2) (2021): 340-355354 Dalam Musik Keroncong di Indone- sia. Nuansa Journal of Arts and Design, 1(1), 10–22. Nadjamuddin, A. N. S. M. ., & Sahriana, I. T. (2017). Transformasi Teater Trad- sional Kondo Buleng dan Kontinui- tas Elemen Bahari. In Journal of Cul- tural Sciences (Vol. 12, Issue 2). Negeri, T., Malay, S., & Issue, L. I. (2018). Bahasa melayu Negeri Sembilan dan isu imperialisme linguistik. Interna- tional Journal of the Malay World and Civilisation, 6(1), 11–26. Ninik, M. C., & Rejeki, S. (2007). Perbedaan Budaya dan Adaptasi Antarbudaya dalam Relasi Kemitraan Inti-Plasma. Paetzold, U. U., & Mason, P. H. (2015). 13 Adaptation of Silek and Randai for Performer Training in the USA: A Case Study of the Asian Theater Pro- gram at the University of Hawai’i at Mānoa. In The Fighting Art of Pencak Silat and its Music (pp. 384–396). Pamungkas, S. M. (2018). Adaptasi Budaya Etnis Jawa di Lingkungan Etnis Sunda : Studi kasus di Desa Gunungbatu Keca- matan Ciracap Kabupaten Sukabumi. Universitas Pendidikan Indonesia. Paneli, D. W. W. (2017). Transformasi Per- tunjukan Wayang Orang Komunitas Graha Seni Mustika Yuastina Suraaya. Pauka, K. (1998). Theater and martial arts in West Sumatra: Randai and Silek of the Minangkabau. Ohio University Press. Pauka, K. (2016). Adaptation of Silek and Randai for Performer Training in the USA: A Case Study of the Asian Theater Program at the University of Hawai’i at Mānoa. In The Fight- ing Art of Pencak Silat and its Music. Brill, 384–396. Primadesi, Y. (2013). Preservasi Pengeta- huan dalam Tradisi Lisan Seni Per- tunjukan Randaidi Minangkabau Su- matera Barat. Jurnal Kajian Informasi & Perpustakaan, 1, 179–187. Rahmat, W., & Adi Rahmad, H. (2020). Community Control and Patterns on Randai Dayang Daini in Koto Baru Community, Mungka Sub-District, West Sumatera. In Journal of Asian Studies: Culture, Language, Art, and Communications Published By. Haqi Publishing Service Journal Homepage Journal of Asian Studies: Culture, Lan- guage, Art and Communications (Vol. 1, Issue 1). Reniwati, D. (2016). Bahasa MIangKabau di aerah Asal dengan Bahasa Minangkabau di Daerah RantauMaaysia: Kajian. Rustiyanti, S. (2014). Musik Internal dan Eksternal dalam Kesenian Randai. Rustiyanti, S., Fatimah Djajasudarma, En- dang Caturwati, & Lina Meilinawati. (2013). Estetika Tari Minang dalam Kesenian Randai Analisis Tekstual- Kontekstual. Jurnal Panggung, 23(1), 42–56. Samad Bin Kechot, A. (2009). Laporan Kaji- an Randai Warisan Masyarakat Minang Negeri Sembilan: Meneroka Perkemban- gan dan Taburannya. Savitri, L., & Utami, S. (2015). Teori-Teori Adaptasi Antar Budaya. Setyawan, B. W., Kundharu, D., Program, S., Magister, S., Bahasa, P., & Daerah, S. (n.d.). Akulturasi Budaya Islam-Jawa dalam Pementasan Kesenian Ketoprak. Siswantari, H., Setyaningrum, F., Kend- ang, R., & Cilacap, P. (n.d.). Rampak Kendang Patimulan Cilacap sebagai Wujud Difusi Kesenian Jawa Barat Sudewa, I. K. (2014). Transformasi Sastra Lisan Ke Dalam Seni Pertunjukan Di Bali: Perspektif Pendidikan. Jurnal Humaniora, 26(1), 65. http://journal. ugm.ac.id/jurnal-humaniora/arti- cle/view/4881 Sutrisno, I. (2010). Perubahan Orientasi pada Pesan Verbal Tembang dalam Seni Tradisional Angguk dan Dol- alak. Jurnal Ilmu Komunikasi, 8(3), 330–343. Valindyputri, Y. K., & Elfira, M. (2021). Balet Rusia Ala Indnesia: Sebuah Akul- turasi dalam Tari Kabaret Baliano Karya Rusdy. 19(1), 49–59. Wekke, I. S. (2013). Islam dan Adat Tinjau- an Akulturasi Budaya 2013. Analisis, 13, 27–56. Yanuartuti, S., Juwariyah, A., Puspito, P., Indrayuda Indrayuda & Mohd Effindi Samsuddin, Changes in Form and Style in Randai 355 & Winarko, J. (2020). Adaptation of the wiruncana murca play in the wayang topeng jatiduwur (Jatidu- wur mask puppet) jombang perfor- mance. Harmonia: Journal of Arts Re- search and Education, 20(1), 58–72. Yuda, F., Winangsit, E., Hidayat, H. A., Sub’haan, F., & Sinaga, S. (2020). Lim- ited Creativity as a Form of Minangka- bau Traditional Randai Preservation. Yusuf, M. (2020). Akulturasi Minangka- bau-Melayu Melalui Musik dan Tari di Batu Bara Sumatera Timur. Jur- nal Pengkajian Dan Penciptaan Musik, 3(2). Zuraidi, M. F., Ramli, Z., & Ahmad, S. (2020). Kewujudan Kota Raja Melewar Berdasarkan Sumber Bertulis dan Data Lapangan (The Existance of Raja Me- lewar Fort Based on Written Sources and Fieldwork Data). 33(1), 1–13. Appendix 1. Changes in the Form and Style of Randai Performances in Malaysia Randai Show Form Randai’s Style Description of Change Structure’s Form The actor’s acting style Changes to the structure are too many in Randai Cindua Mato. The style of acting is adapted to the Malay the- ater style. Story’s Form (Kaba) Style on the tech- nique of Silat in Legaran Some stories are based on social events. The style or technique is a collaboration between the Minangkabau style of Silat with the Malay and Negeri Sembilan schools. Legaran Song’s style or Dendang Legaran changes into many Legaran. The style of the song collaborates with the Malay rhythm. Oral literature (lit- erature in dialogue by actor/actress Packaging style There is a mixture of Minangkabau literature with the Negeri Sembilan literature version. The packaging style is arranged like the Malay- sian folk theater, Mak Yong. Configuration Performance style The configuration has many changes and varia- tions in form. The style of presentation is modern theater and drama style. Music Composition Style on Music The composition of the music has changed. The musical style is a collaboration between Ma- lay and Negeri Sembilan with Minangkabau. Gurindam Content of Gurin- dam The contents of Gurindam sometimes do not match the content of the story. Stage Stage’s settings Randai is using the stage setting. Costume Forms and patterns of costume There is a collaboration of Minangkabau, Malay, and Negeri Sembilan influences. Verse on the Gurin- dam Verse’s forms Verse’s forms are sometimes not guided by AB- AB, but there is ABC-ABC