165 Siriah Gadang Cultural Values in Galombang Dance in Pariangan, West Sumatra Afifah Asriati¹, AS Hardy Shafii², Yuliasma¹, Irdhan Epria Darma Putra¹, Desfiarni¹ 1Universitas Negeri Padang, Indonesia 2Universiti Sains Malaysia, Malaysia Submitted: 2022-10-07. Revised: 2023-11-03. Accepted: 2024-05-09 Abstract This article aims to expose the revitalization of Siriah Gadang cultural values in Galombang dance performed in Guguak village, Pariangan, Tanah Datar Regency, West Sumatra. Siriah Gadang is almost extinct because it is very rarely used. It is a cultural object with the same function as Cara- no, which is currently used for Galombang dance performances. To achieve this goal, qualitative research was used through observation, documentation, in-depth interviews, and Focus Group Discussion (FGD) techniques. The data obtained were analyzed using the Miles and Haberman model. It was found that the cultural values in Siriah Gadang are customary values, ethical values, social values, religious values, and leadership values reflected in the philosophy of the Minang- kabau people “adaik basandi syarak, syarak basandi Kitabullah.” Keywords: cultural values; siriah gadang; Minangkabau; galombang dance How to Cite: Asriati, A., Shafii, A. H., Yuliasma, Y., Putra, I. E. D., & Desfiarni, D. (2024). Siriah Gadang Cultural Values in Galombang Dance in Pariangan, West Sumatra. Harmonia: Journal of Arts Research and Education, 24(1), 165-176 Harmonia: Journal of Arts Research and Education 24 (1) (2024), 165-176 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v24i1.39447 tains siriah langkok (completed betel lea- ves), The term for putting together betel leaves according to custom beliefs (Khai- rat et al., 2018). Carano is a special container that serves as a traditional ceremonial object used by the Minangkabau people. It was made from a mixture of gold metal that resembles real gold both in color and material. Carano, completed betel leaves, and dulamak are a unity that cannot be separated (Zubaidah, 2001). The same object called Cerano is used to welcome guests in Riau and Jambi (Na, 2014), or Tepak Sirih (Siska Putri et al., 2014). It was made of Pulai wood in the shape of a trapezoidal rectangle (Purwati, 2020). INTRODUCTION Galombang dance in Minangkabau is a dance performed to welcome guests (Utama, 2017) and has never been per- formed for other purposes. Traditional- ly, it was only men who performed the dance while women were not involved as dancers (Nerosti, 2013) ; (Indrayuda & Ardipal, 2017) ; (Asriati & Desfiarni, 2019). Based on observations and sources that researchers read in general, guests will be given betel leaves at the end of the dance as a welcome greeting. The container for betel leaves is called Carano. This Carano is covered with rectangular embroidery called Dalamak, which con- Corresponding author: E-mail: afifahasriati@fbs.unp.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 24 (1) (2024): 165-176166 Meanwhile, in West Sumba, East Nusa Tenggara, the object to put the betel lea- ves in is called Kuolaka, which is made of woven pandanus or palm leaves (Dwinanto et al., 2019). Unlike the case in Guguak village, Pariangan, there was an interesting and unique thing in this place where carano was not used as a betel leaf holder to serve guests. They used Siriah Gadang instead (Asriati, Desfiarni, & Darma Put- ra, 2021). This term is unique and inter- esting because it only exists in this pla- ce out of four villages in Pariangan. In addition, Siriah Gadang is used only for alek nagari (village ceremony) called Ba- tagak Pangulu (the appointment of their leader) and panutuik pacu jawi (closing ceremony of the Bull Race). Therefore, it is rarely used because Batagak Pangu- lu ceremony is held when a leader of this village dies. Dt. Simarajo et al., traditio- nal leaders of Nagari Pariangan, state that it was used at the Batagak Pangulu event in the 1960s. Likewise, it is also used for Alek Pacu Jawi, if the event is held in Guguak village only. Meanwhile, this event is re- gularly held in several villages in Tanah Datar Regency (Dt. Simarajo et al., 2021). The Pacu Jawi event is one of the tra- ditional games that is very popular in Ta- nah Datar, West Sumatra Province. This event can only be found in Tanah Datar regency, which includes four sub-districts: Pariangan, Rambatan, Limo Kaum, and Sungai Tarab (Pratama & Nasution, 2020; Vernando (2019). Based on the phenome- non, it is predicted that Galombang dance using Siriah Gadang will become extinct in the community if it is not reconstructed and revitalized soon. In fact, it is the iden- tity of this village, and the person who is able to make this Siriah Gadang is very old now. He is currently 79 years old (Sani, 2021). Further, not everyone knows the existence of Siriah Gadang in Galombang dance performances because it is rarely used. They also do not know the cultural values of this dance. To sum up, Siriah Ga- dang is a legacy of the oldest generation that needs to be cared for and preserved as the cultural identity of the people of Gu- guak village. The problem mentioned above is the reason behind the need to reconstruct and revitalize the values of Siriah Gadang in Galombang dance. Supanggah (2008) ex- plains that there are seven steps to revita- lize traditional art: (1) Reconstruction, (2) Refunctionalization, (3) Representati- on, (4) Reformation, (5) Reformation-in- terpretation, (6) Reorientation, and (7) Recreation (Anggraeni, 2015, Ruslan & Sukriyadi (2023). Reconstruction is an activity carried out for arts that have been lost but they still have the oppor- tunity to be revived. This is considered important because it has a useful value for the community. Revitalization can be done because there are still sources of information that support it, such as the existence of sources or performers who are still alive and can perform the art. Reconstruction can be interpreted as re- building to the original condition that is known and distinguished by using new or old materials (Rachman, 2012). On the other hand, cultural revitalization is an effort to realign local cultural values that may have weakened or deviated because they no longer fit the community’s needs (Sedyawati, 2014). The revitalization of Siriah Gadang values is intended to in- terpret the reconstruction results so that they can be understood in the context of Minangkabau culture. Thus, the cultural values of the current conservation object are more concrete. Furthermore, the preservation of cultural values includes various kinds of activities: 1) cultural studies, especial- ly about cultural values, various ethnic groups, or values formed at the national level that develop over time; 2) training for the younger generation in group ac- tivities within a certain period of time which aims to teach values about de- fending the truth, honesty, sincerity in giving, togetherness, and compassion; 3) collecting printed information related to cultural values with examples of real Afifah Asriati et al., Siriah Gadang Cultural Values in Galombang Dance in Pariangan, West 167 settings or situations (Sedyawati, 2014). Therefore, one of the benefits of revitali- zing the cultural values of Siriah Gadang in this Galombang dance performance is to keep its existence, considering that Pa- riangan is the first village in Minangka- bau. It is known as nagari tuo (old villa- ge) and is appreciated as one of the most beautiful villages in the world by the influential United States tourism media, Travel Budget (Dini Masly, 2017), which many domestic and foreign tourists now visit. In short, this research is only re- lated to or focused on one point: cultural values in Siriah Gadang. In this case, Minangkabau cultural values are found in the philosophy of Mi- nangkabau customs. They are mentioned in fatwa, petatah, petitih, mamang, and pan- tun. This cultural value is tied and will remain the same, and the realization is ad- justed to the circumstances and changes in times (Nasroen, 1971). These cultural values can be found in all community life, including Pasambahan in the Batagak Pan- gulu event (Rahmadhani et al., 2013); the proposal process in the marriage procedu- re (Rukmana et al., 2013); Randai (Bahar- dur, 2018), Silat (Sarbaitinil, 2021); Piring Dance (Asriati, 2013). Siriah Gadang Tra- ditional Decorative Ornament (Syafwandi & Zubaidah, 2018); Siriah Gadang motif on Rumah Gadang decorative ornaments (Shalika et al., 2020); Galombang dan- ce (Nerosti, 2019); Carano in Galombang dance (Darmawati & Mansyur, 2020); and Siriah Gadang in this article. The cultural value system consists of conceptions that exist in the minds of the majority of people. It is about the things that they should consider very valuable in life. Therefore, cultural values are usu- ally the highest guideline for human be- havior. Other systems of human behavior at a more concrete level, such as specific rules, laws, and norms, are all also guided by cultural values. Cultural values have also influenced individuals in society since birth, so this conception has long been roo- ted in their souls. In short, cultural values are difficult to replace in a short time (Ko- entjaraningrat, 1985). Then, the Minangkabau people’s perception of nature is about meaning. It is not only a place to be born, live, and die, but it also contains deep philoso- phical values. This philosophy of life is contained in the Alam Takambang Jadi Guru principle, which means that the open universe is a source of knowledge (Navis, 1984). It is then reinforced by Isla- mic values called ABS-SBK (Adaik Basan- di Syarak, Syarak Basandi Kitabullah). Thus, adat is strengthened by Islamic teachings (Amir M.S, 1999). The basics of traditio- nal philosophy are hidden in mamang and pantun, petatah, and petitih (Nasroen, 1971) . Similarly, Siriah Gadang, as a cul- tural object, has this philosophical value. This research aims to revitalize the Minangkabau cultural values in the Siriah Gadang cultural object used as a Galom- bang dance performance equipment used as a measure that must be considered in new developments. The cultural value of Siriah Gadang is important to revitalize because the younger generations in this village do not know many of the values contained in Siriah Gadang. It will possib- ly become extinct in the community if the younger generation no longer uses it. This Siriah Gadang has cultural values that the community must know. Revitalizing the cultural values contained in Siriah Gadang can be a reference material for future gene- rations if they want to develop it without eliminating the values because Siriah Ga- dang is the identity of the Guguak village. In addition, Pariangan village is the oldest village in Minangkabau, which has a lot of undisclosed ancestral heritage, one of which is Siriah Gadang. Local wisdom can be defined as a local cultural wealth that contains life policies, a way of life that accommodates wisdom of life. It is a legacy of the past originating from ancestors that is not only found in traditional literature (oral and written literature) as a reflection of the speaking community but lives in various fields of real life, such as philosophy and outlook on life, health, and architecture. In Harmonia: Journal of Arts Research and Education 24 (1) (2024): 165-176168 the dialectic of life and death (something that lives will die), local wisdom will one day die without preservation and revitali- zation. Perhaps the fate of local wisdom is similar to the heirlooms of ancestral heri- tage, which may be rotted by termites after many generations (Suyatno et al., 2011). The concept of revitalization in this study is revitalization through reconstruc- tion. By reconstructing the old Siriah Ga- dang form into a new form made by the artists of Guguak village, they would revi- talize the cultural values of Siriah Gadang. As stated by Supanggah (2008) (Anggrae- ni, 2015), “Some forms of art revitalization efforts include reconstruction, re-function, representation, reformation, reinterpretati- on, reorientation, and recreation.” Nagari Pariangan, as a tourist area, is a very appropriate place to revitalize Siriah Gadang as a cultural object, as (Syi- fa Ayyada Jannati, 2020) did before. “To revitalize the existing noble culture, one of the right ways is to use a tourist villa- ge as a forum to revitalize the wisdom that is starting to fade in society.” In ad- dition, Siriah Gadang is a cultural identity for the people of Guguak village Nagari Pariangan. Yudarta (2015) conducted re- vitalization in the context of his research, reviving and activating Sasak traditional music as one of Sasak’s cultural identi- ties. METHOD A qualitative approach was used in this study. It is a research procedure that produces descriptive data in the form of written or spoken words from the people and actors observed ( Bogdan &Taylor in Moleong, 2017). This approach is applied to obtain data on reconstructing and re- vitalizing Siriah Gadang cultural values in Galombang dance performances. The main focus of this research is Siriah Ga- dang in Galombang dance in Guguak vil- lage, Pariangan. The informants in this study were artists as people who make Siriah Gadang cultural objects, academics and observers of Pariangan cultural va- lues, the chairman of KAN (Kerapatan Adat Nagari), several traditional lea- ders, scholars, art activists, bundo kan- duang, and youth. Then, the data were collected using documentation techni- ques, video recordings of observations in the first year of research, in-depth inter- views to explore the meaning contained in Siriah Gadang cultural objects, and Fo- cus Group Discussions. The source triangulation and met- hod triangulation techniques were com- bined to obtain data credibility. Finally, the Miles and Haberman model was applied in conducting data analysis, such as reducing data that produces ca- tegories by selecting important ones and discarding those that were not used, then constructing relationships between cate- gories and finally drawing conclusions that have been verified through data credibility tests. The revitalization pro- cess was carried out through the re- construction of Siriah Gadang cultural ob- jects, which starts from interviews with artists in Guguak nagari Pariangan, provi- ding the necessary materials, the way or making process, the procedures for using it in Galombang dance performances, and finally exploring the cultural values con- tained in Siriah Gadang as a cultural object. RESULT AND DISCUSSION The people of Guguak village, Pa- riangan in particular, are art lovers. The habit of living that cultivates art has be- come a tradition that continues in the lives of its people. Until now, various types of arts, such as Randai, Salawaik Dulang, Sa- luang, Piriang Dance, and Galombang Dan- ce, still exist there (Maizar, 2021). In addition, based on last year’s re- search, it was found that Siriah Gadang existed for a long time (Asriati, Desfiarni, & Darma Putra, 2021) when Carano did not exist as it is used today. That is how the creativity of the ancients to make somet- hing, Siriah Gadang, for example, has been used by people for generations. According to informants, they discussed how and Afifah Asriati et al., Siriah Gadang Cultural Values in Galombang Dance in Pariangan, West 169 where to place betel leaves. So, the idea of making this Siriah Gadang emerged. Siriah Gadang is only used for cer- tain events. Ninik mamak agreed that it could only be used for Alek nagari or village ceremony. It is usually carried out by the community to celebrate events related to traditional, religious, and state life (Erlinda, 2012). They are panutuik pacu jawi (the closing ceremony of the cattle race) and Baralek Pangulu (the ceremony of appointing a new tribal leader) (As- riati, Desfiarni, & Darma Putra, 2021). In conclusion, it can be said that Siriah Gadang belongs to the ninik mamak (Dt. Simarajo et al., 2021). The Reconstruction of Siriah Gadang The reconstruction is the result of the artist’s work as he remembers using the materials available today. The first stage in reconstructing and revitalizing Sirih Ga- dang is to make Sirih Gadang into houses where betel leaves and other equipment can be placed together. The second stage was making 5 Sariak bamboo poles by forming a square and one in the center. This arrangement is the same as the arran- gement of poles in ancient mosques. The five pillars are joined using small pieces of wood and tied together. Since the cen- ter pillar is the tallest, the other small pil- lars connect the wood like the roof of a house. Then, the top and sides are cove- red with cardboard (formerly using upiah skin or areca nut petals). After that, it is decorated with carvings. In addition, three limau gadang (Bali- nese oranges) are arranged in a row in the center of the towering pillar. After that, betel leaves are arranged on top of the li- mau gadang. Furthermore, seven bunches of betel leaves are placed at the lowest le- vel, five bunches of betel leaves are placed in the middle, and three bunches of betel leaves at the top. Finally, the national flag is raised over the oranges, followed by the marawa or ninik mamak flag (Figure 1) Figure 1. Siriah Gadang frame and betel, lime, and marawa flags (Documentation: Afifah Asriati, 2020) Figure 2. The reconstruction of Siriah Gadang and its development by adding carvings to the houses (Documentation: Afifah Asriati, 2020) The Cultural Values of Siriah Gadang Based on the reconstruction results above, the revitalization of cultural values in Siriah Gadang cultural objects is carried out (Figure 2). The cultural values con- tained in the four pillars are interpreted as four kinds of tribes in Guguak village, which they call angku ampek (four angku). The angku ampek are; 1) angku ampek Dali- mo, 2) angku ampek Piliang, 3) angku ampek Paliang Laweh, and 4) angku ampek Pisang. These four people are also called people who know religion. They call them urang nan ampek ko nan mamacik agamo (four Harmonia: Journal of Arts Research and Education 24 (1) (2024): 165-176170 people who understand religion) or urang musajik (people of the mosque), or angku. The highest pillar is symbolized as God Almighty (Sani, 2021). In cont- rast, the our FGD had a different state- ment that the four pillars, the right one symbolizes angku ampek; 1) angku ampek Malayu, 2) angku ampek Dalimo Panjang, 3) angku ampek Koto, 4) angku ampek Paliang Laweh; the front left pillar symbolizes pakiah; the back right pillar symbolizes malim; the back left pillar symbolizes du- balang, and the middle pillar symbolizes niniak mamak as the highest leader in the community (Dt. Simarajo et al., 2021). The interpretation of the Minangka- bau cultural value about betel leaves sym- bolizes that the Minangkabau people like to receive guests and are willing to learn new things (this open universe is a sour- ce of knowledge). Betel leaves are served in Carano, along with areca nuts and ac- cessories, to welcome and honor guests (Marthala, 2013). While the arrangement of betel leaves symbolizes “bajanjang naiak, batanggo turun.” This can be interpreted as the fact that all problem-solving will start at the bottom-up level. Furthermore, the 15 bunches of betel leaves are divided into three parts. Each consists of 7 bunches, five bunches, and three bunches. The first seven bunches are at the lowest level, sym- bolizing seven descendants of same-sex offspring who are not allowed to have con- jugal relations, meaning that inbreeding is not allowed. The second 5 bunches symbo- lize the five pillars of Islam. Finally, the last three bundles are symbolized as tali tigo sapilin. Tali tigo sapilin is “partamo tali pamarintah, kaduo tali adaik, katigo tali agamo (first for the government, second for adat, and third for religious rope)” (Dt. Simarajo et al., 2021). The final stage is raising the Marawa flag. It is the flag of the niniak mamak and is considered the traditional flag. The colors of this flag are yellow and black, which symbolizes the greatness of the niniak ma- mak. It is used in the Batagak Pangulu event, the death of the pengulu, pangulu’s son, and pangulu’s wife; and the closing cere- mony of Pacu Jawi. So, it is interpreted as a symbol of niniak mamak because they are called “urang baradaik” (people who know adat)(Dt. Simarajo et al., 2021). Apart from traditional flags, national flags are also installed to unify the values of the Repub- lic of Indonesia. The results showed that the re- construction and revitalization of Siriah Gadang were not exactly the same as the original because the materials and tools were difficult to find. Siriah Gadang revi- talization activities are also added with carving motifs made from mamar paper and then attached to the walls of Siriah Gadang houses. Thus, reconstruction and revitalization are among the efforts to pre- serve Siriah Gadang. Minangkabau cus- tom shows that every guest who comes is welcomed with the Galombang dance, which uses Siriah Gadang as the closing of this dance (Asriati, Desfiarni, & Putra, 2021). Then, the guests are welcomed to the venue. Siriah Gadang has now been modified into a Carano made of gold- colored metal as a place to put complete betel leaves. Carano is used as a symbol to show sincere feelings when welcoming guests (Darmawati & Mansyur, 2020). However, the object to put the betel leaf is not Cara- no. They use Siriah Gadang but in the form of houses on which are limau gadang, betel leaves and accessories, marawa flags, and state flags (Placeholder1) (Asriati, Desfiar- ni, & Darma Putra, 2021). Although the ob- jects are different, thei r m e a n i n g a n d f u n c t i o n a r e t h e s a m e a s t h a t o f a symbol to honor guests who come (Sani, 2021). The term Siriah Gadang is also found in some Minangkabau ornaments. It is used to honor and welcome guests by giving betel leaves. In addition, betel nut is an expression of gratitude for the host’s welcome (Syafwandi & Zubaidah, 2018). Furthermore, the guest welcoming ceremony can also be found in the Riau area as well because the Malay peop- le highly uphold the value of honoring guests. It is called Tepak Sirih, which sym- bolizes respect for guests in Malay society. Afifah Asriati et al., Siriah Gadang Cultural Values in Galombang Dance in Pariangan, West 171 Therefore, Tepak Sirih is only served to ho- nored guests (Na, 2014) ; (Siska Putri et al., 2014). Similarly, in West Sumba (Dwinanto et al., 2019), the government uses the betel nut tradition to welcome guests to formal ceremonial events as one of Sumba’s dis- tinctive cultures. It symbolizes acceptan- ce with open arms and respect for guests from the host. It is meant to show the hospitality of the local culture. Just like in North Central Timor, people do betel nut reflection to honor others. It is clear that betel leaves and areca nuts are indicated as a culture of courtesy and objects to honor others. Thus, they have the same position, both guests and natives. In summary, betel nut is a symbol that the presence of guests is welcomed with sincerity and an open heart by the host (Suminar, 2020). Two cultural values are present in the Galombang dance performan- ce using Siriah Gadang in Guguak vil- lage, Pariangan. They are traditional and religious values. In this case, there is an opinion that customs and religi- on in Minangkabau are contradictory. However, they are not. They reinforce each other, such as the use of numbers (Nasroen, 1971). Minangkabau custom uses even numbers to explain some va- lues; “kato nan ampek|Undang-Undang nan duo baleh|Undang- Undang nan duo puluah|urang nan ampek jinih|nagari nan ba kaampek suku|tjupak nan duo: tju- pak usali| tjupak buatan” (Nasroen, 1971) means “four words, twelve laws, twenty laws, four types of people, four tribes of land, two rules: original tjupak, modi- fied tjupak”. is called “indak tau di ampek” (he does not know four words). In cont- rast, numbers in Islam are generally odd, such as God Almighty, the seven pillars of heaven, the five times of prayer, the five pillars of Islam, etc. In conclusion, Islam perfected the Minangkabau cus- tom as a way of life for the Minangkabau people. In addition, the four pillars found at the edge of Siriah Gadang are described as village elements: pangulu, malin, manti, and dubalang. It is stated as “Panghulu ta- guah di adat|Malim taguah di agamo|Manti taguah di buek|Dubalang taguah di nagari| Panghulu tagak di pintu adat |Malim di pin- tu agamo| Pagawai di pintu susahil Dubalang di pintu mati. This statement translates to Panghulu being firm in adat, Malim being firm in religion, Manti being firm in action, and Hulubalang being firm in the village. Penghulu stands at the door of adat, Malim at the door of religion, Pagawai at the door of difficulty, Hulubalang at the door of death (Nasroen, 1971), the four elements of society as angku nan ampek, pakiah, ma- lim, and dubalang. These four elements or- ganize social life in this place. Angku nan ampek is a person who represents their res- pective tribe, pakiah is a person who kno- ws religious law, malim is a person who is good at asking people about religious matters, and dubalang who keeps the pla- ce safe. Finally, the tallest pillar in the cen- ter defines the niniak mamak as the highest leader in the village and the highest leader based on customary values. Then, the multilevel arrangement of betel leaves shows the traditional va- lues of the community. Minangkabau society as an organization groups their societal values from low to high levels. It states, “Luhak nan bapanggulu|Rantau nan barajo| Kampuang Nan batuo| Rumah nan batungganai.” This could mean Luhak has a head, Rantau has a king, the villa- ge has elders, and the house has a head (Nasroen, 1971; Masoed Abidin (2002). These levels determine rights and res- ponsibilities in social life. Each right and responsibility must start from the lowest level to the highest by following up on each level. As the saying goes, “Bajan- jang naiak, batanggo turun” which can be translated as “tiered, stepped” (Nasro- en, 1971); (Masoed Abidin, 2002). As a final point, everything that happens in the life of Minangkabau society must be discussed together as it is said, “Kamana- kan barajo ka mamak | Mamak barajo ka penghulu | Penghulu barajo ka mupakat| Mupakat barajo ka alua jo patuik”, which means “the younger is the mamak, the mamak is the penghulu, the penghulu Harmonia: Journal of Arts Research and Education 24 (1) (2024): 165-176172 is the deliberation, the consensus is the rule” (Masoed Abidin, 2002). Indeed, the arrangement of betel leaves is designed in the form of 7 (seven), 5 (five), and (3) three, which also illustra- te customary and religious values. It can be noticed that the arrangement is an odd number. The first 7 (seven) are interpreted to mean that seven offspring of inbreeding are prohibited from marital status. The se- cond 5 (five) indicate the five pillars of Is- lam: 1) saying the shahada, 2) praying five times shalat, 3) paying zakat, 4) fasting, 5) performing the hajj for those who are able (Pasha, 2003). In different ways, the last three have customary values. It shows Tali tigo sapilin (three ropes on one tie); parta- mo tali pamarintah, kaduo tali adaik, katigo tali agamo (government, adat, and religi- on). Also called Tigo Tungku Sajarangan (if we want to cook using pots, we need three stones or the like to put the pots in a stable and correct position). These three are also referred to as ninik mamak, alim ulama, and cerdik pandai. Similarly, to be a good person in life, one must be 1) reli- gious, 2) civilized, and 3) knowledgeable (Nasroen, 1971). Last but not least, tradi- tional leaders, religious leaders, and the government work hand in hand in Mi- nangkabau to make the community live safely and peacefully. Later, the marawa and the national flag had special and important values. Ma- rawa is a Minangkabau traditional flag that is not only a banner but also has its own meaning and significance for the Minang- kabau people. It symbolizes the greatness of Pangulu. M. Sayuti, Head of LKAAM (Lembaga Kepadatan Alam Minangka- bau) West Sumatra, said that there are two types of Marawa; customary marawa and luhak marawa. Both have different color ar- rangements. For example, the correct order for the adat marawa is black at the bottom, yellow at the bottom, white at the back, and red at the top. Initially, black symbo- lizes the penghulu. Then, yellow refers to the manti. After that, white is reflected as malin. Finally, red means dubalang. Meanwhile, the Luhak marawa sym- bolizes the customary area called Luhak Nan Tigo. The yellow color symbolizes Luhak Tanah Datar which reflects the cha- racter of “aianyo janiah, ikannyo jinak and buminyo dingin” (the water is clear, the fish are tame, and the earth is cold). Then the red color symbolizes Luhak Agam which reflects the character of “aianyo ka- ruah, the fish are lia and the earth is warm” (the water is dirty, the fish are wild, and the earth is warm). Finally, the black co- lor represents Luhak Limapuluh Kota, reflecting the character of “aianyo manih, ikannyo banyak dan buminyo tawar” (sweet water, many fish, and fresh earth) (Ad- ministrator, 2016). Above all, each color of the marawa has its own meaning and value, more precisely, the pillar that sym- bolizes the earth. The black color symbo- lizes tapo resistance (resilience), ethics, and modesty. Yellow symbolizes majes- ty, rule, and law. Red symbolizes coura- ge, raso jo pareso (feelings and thoughts). The white color symbolizes having alua jo patuik (referring to the rules). Plus, there are also natural provisions for a leader. It says “Urang gadang digadangkan makonyo gadang, tumbuahnyo ditanam, gadangnyo dilambuak”. This can be interpreted as “leaders are appointed, become leaders, grow and are nurtured” (Nasroen, 1971); (Dt. Simarajo et al., 2021). Furthermore, “Tumbuahnyo ditanam|Tingginyo dianju- ang |Gadangnyo diamba”. This statement can be interpreted as “growth is planted, height is supported, size is maintained (Nasroen, 1971) ; (Dt. Simarajo et al., 2021). In conclusion, there is no dicta- torial power in Minangkabau. Therefore, Minangkabau custom is a view of life that exists in the real world through thoughts and feelings. With the advent of Islam, there was a change in worldview towards religio- us beliefs both in this world and the he- reafter. It already existed before Islam came to Minangkabau. The assimilation of adat with religion made the principle of adat downward while religion beca- me upward. Before Islam, adat did not recognize an afterlife system. The only Afifah Asriati et al., Siriah Gadang Cultural Values in Galombang Dance in Pariangan, West 173 belief that existed before Islam was an- cestor worship. Customs were accepted as heirlooms. Thus, the current generati- on is obliged to maintain adat (Nasroen, 1971). Historically, adat and religion con- nect to form a cultured, civilized society based on Islam (Fardius, 2017). Fardius further emphasized that combining the two concepts creates a system of values and norms in Minangkabau culture, which is called the ABS-SBK philosophy. Both are culturally related to becoming one (Fardius, 2017). Finally, the identity of Minangkabau society adheres to adat basandi syarak, syarak basandi Kitabullah (adat refers to religion, and religion re- fers to the Quran). This conclusion is in line with the philosophy of Guguak vil- lage, Pariangan expressed through an interview with Sani, who stated: “Adaik basandi syarak, syarak basandi kitabullah. Adaik dahulu baru syarak. Syarak mangato- kan, indak kato adaik, bata kato syarak, indak kato syarak, indak kato adaik nan basandi ka nan surang tu Kitabullah” (Adat is based on syarak, syarak is based on Kitabullah. Adat first and then syarak. Syarak says. Adat says no. tehre will be no syarak. Syarak says no. So do adat says. Which adheres to the one Kitabullah). It could be that what is meant by adat refers to religion; religion refers to the Quran. Tradition comes first, and then religion follows. When religion says yes, but tra- dition says no, religion is rejected. When religion says no, and so does tradition, we refer to Kitabullah (Sani, 2021). Finally, it was clear that t h e Mi- nangkabau people do not want to be called un-Islamic because Islam itself is deeply embedded in their thoughts and feelings. They are known for their strong religion. Their devotion to religion can be seen in the number of mosques and Islamic boar- ding schools (Nasroen, 1971). Therefore, besides being religiously observant, they consistently practice their customs. Siriah Gadang Revitalization Process Based on the concept of revitaliza- tion expressed by Supanggah above, re- vitalization consists of seven steps; the steps used in this research are the first and second steps, namely reconstructi- on and refunctionalization. The second revitalization, namely functionalization that researchers do is to function by using Siriah Gadang cultural objects in Galombang dance per- formances to welcome guests. The following process of functio- ning is carried out with the help of artists in the Guguak village. After completing the making of Siriah Gadang, the next step is to prepare the Galombang dan- cers. They do exercises to prepare for the show. After the dancers are ready to per- form, the next performance schedule is set, and it can be attended by researchers and supporters of dance performances, such as dancers, musicians, speakers of pasambahan, and organizers. Finally, the researchers determine the performance venue. In this case, the performance ve- nue is set in the usual place to welcome guests at this time, namely on the main road of the Guguak village. Some pictures show the revitaliza- tion of Siriah Gadang result as cultural ob- jects that functioned again in Galombang dance performances. In this case, Siriah Gadang, as a cultural object, functions as a tool used as one of the equipment for Galombang dance performances (Figures 3 and 4). Figures 3 & 4 . The use of Siriah Gadang in Galombang dance and welcoming guests (Documentation: Afifah Asriati, 2020) Harmonia: Journal of Arts Research and Education 24 (1) (2024): 165-176174 The researcher assumes that st- rengthening and emphasizing the fun- ction of this dance makes its values understood and preserved by the next generation. It is necessary to perform it more often. The values that must be un- derstood are traditional values, ethical values, social values, religious values, and leadership values. It will be more effective through performance than through discussions, such as Pacu Jawi or Batagak Pangulu event, because it is be- lieved that, in essence, the inheritance of values in dance is accustomed through performance. The more often it is per- formed in the Pacu Jawi or Batagak Pan- gulu event, the more the values are in- ternalized by the next actor. Thus, based on the revitalization stage that has been carried out through reconstruction, the object is known again by the communi- ty, especially the younger generation of Guguak village, Pariangan. This revita- lization can help preserve and promote cultural diversity and the unique cultu- ral heritage of various communities. In accordance with the concept of revitali- zation that has been disclosed above, the revitalization steps used in this study are at the reconstruction and refunctio- nalization stages. CONCLUSIONS It can be concluded that the cultural values of Siriah Gadang in Galombang dance are referred to Adaiak Basandi Syarak, Sy- arak Basandi Kitabullah. Siriah Gadang (not Carano as it is now) is used in the dance to honor guests. This note is one of the unique and fundamental findings of the values of Siriah Gadang in Galombang dance perfor- med in Pariangan, a place considered as nagari tuo (the oldest village). So the results of this revitalization must be socialized. In conclusion, the cultural values found in Si- riah Gadang cultural objects are in line with the Minangkabau philosophy: adaik basan- di, syarak syarak, basandi Kitabullah (ABS- SBK), which consists of customary values, ethical values, social values, religious va- lues, and leadership values. From the results of the FGD, which was attended by the chairman of the KAN Nagari Pariangan, socialization was plan- ned in several stages: 1) make a policy or decision with ninik mamak in Guguak vil- lage, 2) conduct a dialogue with the youn- ger generation who are aware of this asset which is very beneficial for foreign tourists, 3) make a video of how to do Galombang dance using Siriah Gadang, 4) construct the Siriah Gadang monument at the gate of Gu- guak village, Pariangan. ACKNOWLEDGMENTS We would like to thank Universitas Negeri Padang for funding this research with PNBP funds in 2021. REFERENCES Administrator. (2016, Februari 12). Mar- awa Jadi Perlambang Tiga Lu- hak di Minangkabau. Haluan. https://www.harianhaluan.com/ padang/pr-10185131/marawa- jadi-perlambang-tiga-luhak-di- minangkabau?page=all Amir M.S. (1999). Adat Minangkabau: Pola dan Tujuan Hidup Orang Minang. PT Mutiara Sumber Widya. Anggraeni, D. (2015). 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