Religious and Harmonious Values in the Pasambahan Tradition and Ceremonial Oration of Batagak Gala Penghulu (BGP) in Minangkabau

The Pasambahan Tradition Ceremonial Oration of Batagak Gala Penghulu (BGP) in Minangkabau reflects the communal identity of the Minangkabau society, particularly in communicating, making dialogs and being in dynamics based on the demand of democratic values as understood by the people of the Minangkabau. Thus, through pasambahan tradition, the process of education in good characters and manners is created, which can explicitly be seen through negotiation activity (bapasambahan). To identify the religious and harmonious values, the author examined pasambahan text and ceremonial oration of BGP which were written for learning purposes by Musdah Dahrizal (Mak Katik) by taking some stanza/lines in the text that show religious and harmonious values. The folklore and semiotics approaches are used in analyzing the religious and harmonious values based on reasoning of the people of Minang in accordance with the customs which are used on daily basis. This research reveals that the tradition of pasambahan and ceremonial oration in BGP have essential positions in the custom of the Minangkabau, where the tradition is a depiction of the identity of the Minang clan. The traditions reflect religious and harmonious values which can be seen in the form and content of the pasambahan tradition and ceremonial oration in BGP in Minangkabau, such as inferiority, fairness, politeness, inclusion of religious symbols, mutual cooperation, deliberation, and mutual respect among clans.


INTRODUCTION
West Sumatra especially Minangkabau is one of the regions and clans that is rich in variety of oral traditions. As stated by Suryadi (1998: 1) that oral tradition has been deeply rooted in the Minangkabau culture. The Minangkabau people are used to passing on stories from mouth to mouth so that the cultural transformation of the Minangkabau culture from one generation to generation is succeeded orally. This is proven by the absence of proofs or notes from abroad, especially from people of the West on the history of Minangkabau, making it difficult for researchers in compiling the history of Minangkabau. Besides, Minangkabau is one of the ethnic groups that have the same name for its language, culture, region and clan, namely Minangkabau (Fadli, 2012: 2). It is the only ethnical group in Indonesia that adopts the matrilineal system and the ethnic group that holds Islam as a group identity; if one does not adopt Islam then such person is not a Minangkabau (Amir, 2006: 7).
Geographically, De Jong, 1980as cited in Nur, (2013 3) mentioned that West Sumatra is still linked to the traditional conditions, and it is divided into two regions which influence the different cultures and traditions, namely: First, the indigenous place of Minangkabau called darek. The region of the darek is believed and agreed upon as the place of origin of the Minangkabau clan, the root and center of the Minangkabau customs. Thus, there is an assumption that the original art tradition of the Minangkabau came from and developed in the darek region (Meigalia, 2013: 2). This region is commonly called as the region of Luhak Nan Tigo (Luhak Tanah Datar, Luhak Agam, and Luhak Lima Puluh Koto). Secondly, the expansion of Minangkabau which was carried out in the form of colonies of each luhak is called rantau region. This region encompasses three areas, namely Rantau Luhak Agam which covers the west coastal area (Pariaman up to Air Bangis, Lubuk Sikaping and Pasaman), Rantau Luhak Tanah Datar which encompasses Kubung Tigo Baleh, West Coast and South from Padang up to Indrapura, Kerinci, and Muara Labuh, while Luhak Lima Puluh Koto consists of the regions of Bangkinang, Lembah Kampar Kiri and Kampar Kanan and Rokan. The art tradition which is developed in the rantau region seemed to be much influenced by regions outside Minangkabau, for instance the art traditions that are found in Pasaman such as Ronggeng Pasaman which was influenced by the Javanese culture (Meigalia, 2013: 2). In terms of the division of the regions, we can categorize the oral tradition of Minangkabau into two traditions; firstly, the traditions which have existed and developed in the whole region of Minangkabau. Secondly, traditions that has grown and developed only in one cultural region of Minangkabau. Amir (1995) as cited in Amir (2006: 25) in his article entitled ³:RPHQ Performance in Minangkabau Oral Tradition´ stated that the oral tradition which is developed in the Minangkabau society is divided into three traditions, namely; traditional speech (tuturan adat), which is referred as ceremonial oration (pidato adat) and pasambahan, mantra and oral literature. The Minangkabau society or known as Urang Minang is a group of society who tends to indirectly convey their intentions by using phrases, parables and figurative languages (kieh) (Yusriwal, 2005: 1). This can be seen in the oral traditions which exist in the Minangkabau culture, such as; Pasambahan/Ceremonial oration, Mantra, Badendang, Rabab, Randai. The respective tradition has different functions in each custom ceremony. In addition, the interesting phenomenon in the oral tradition of the Minangkabau is that the traditional speech is similiar in each region. Furthermore, the mood of expression which is used in each purpose is the same in every region, for example pasambahan kamakan (invitation for a meal), pasambahan manjapuik marapulai (negotiations when fetching the groom) and many others. Nevertheless, there is a clear limitation on this matter, one of the examples is that the people of Bukit Tinggi will not negotiate (manyambah) by the name of the people of Solok, or the people of Batu Sangkar will not negotiate (manyambah) by the name of the people of Pariaman (Amir, 2006: 25).
Pasambahan tradition and ceremonial oration is an oral tradition in the form of custom dialogs between si alek (the guest) and si pangka (the host) by using text in Minangkabau language in the form of pepatah-petitih (proverbs), mamangan, 1 pantun, gurindam (couplet), and others (Fadli, 2012: 2). Contextually, this oral tradition reflected the communal identity of the Minangkabau society, especially in communicating, making dialogs and being in dynamics based on the demand of democratic values as understood by the people of the Minangkabau. Thus, through pasambahan tradition, the process of educating people to have good characters and manners is created, which explicitly can be seen through negotiation activity (bapasambahan). The logical consequence in the social and cultural life is that the Minangkabau people get used to the different dynamic thoughts. So, if there is any polemic which arises among the people, it is regarded as something that is required for the changes and betterment of coexistence.
The phenomenon of oral tradition especially traditional speech is an ideal concept, but in reality, it is now not ideal anymore. Nowadays, the wise people who perform pasambah (manyambah) have become rare, thus there is an expression that has been developed on this which is FRPPRQO\ QDPHG DV ³Mak Rental´2. In the past, people who performed pasambah (manyambah) -custom orators (penutur adat) -represented their people, the ninik mamak, the paruik 3 group (matrilineal relatives), clans, or nagari. But nowadays, only a person who is skillful in performing pasambah is requested to perform the sambah or respond to the sambah, although the person is not from the same region, nagari, and clan. This was stated by Nurmatias 4 (interview, 29 January 2016), who argued that the existence of the oral tradition pasambahan and ceremonial oration has seemed increasingly alien from 2 This term is quoted from the words said by Pramono ± a lecturer in the University of Andalas West Sumatra-in responding to the decrease in the number of people who are good at performing the sambahan (bapasambahan), especially the pasambahan and ceremonial oration in BGP on 28 January 2016.
3 ³Paruik´ LV Whe smallest form of Minangkabau community consisting of some Samande families, who usually reside in a house commonly called as Rumah Gadang. 7KH ZRUG ³Paruik´ RULJLQDWHG IURP WKH Minang language. 4 He was the former chief of the Preservation of Value and Culture of Padang. He is currently the Head of the office of the Preservation of Cultural Heritage, Batusangkar.
the supporting community, especially from the lives of the young generation. The young generation of Minangkabau, nowadays are unable to recognize and to understand it; they do not have the ability to perform the bapasambahan. On the other hand, schools do not introduce the various aspects related with bapasambahan to students, which in turn create hesitance for the students when they have to play an active role in community activities that have to do with custom and culture of Minangkabau.
Taking the problem exploring in the background into account, the research on the Pasambahan tradition and ceremonial oration in Batagak Gala Penghulu in West Sumatra is significantly an interesting topic of study. To be systematic, the problems are formulated in the form of research questions, namely: (1) How are the religious values reflected in the Pasambahan tradition and ceremonial oration in Batagak Gala Penghulu in West Sumatra?; and (2) How are harmonious values reflected in the Pasambahan Tradition and ceremonial oration in Batagak Gala Penghulu in West Sumatra?
The main purpose of this oral tradition research is more to understand or comprehend an oral tradition rather than to build up a theory (Pudentia, 2015: 3). Likewise, the purpose of this research is to understand the meaning contained in the oral tradition that exists in the local communities especially Pasambahan tradition and ceremonial oration in Batagak Gala Penghulu in West Sumatra. Based on these thoughts and the formulation of problems aforementioned, then the purposes of this research are to: (1) reveal and understand religious values incorporated in the Pasambahan Tradition and ceremonial oration in Batagak Gala Penghulu in West Sumatra; (2) reveal and understand the values of harmony involved in the Pasambahan tradition and ceremonial oration in Batagak Gala Penghulu in West Sumatra. In addition to the above two main purposes, this research also aims to show the relevance of the values in the context of a society where the oral tradition specifically exists and in the Indonesian community at large.

CONCEPTUAL FRAMEWORK
One of the forms or cultural expressions is the oral tradition, or in another term used by Danandjadja (1997: 22) as oral or partially oral folklore. According to Danandjadja (1997) the oral traditions include: vernacular language traditional expressions, folk poetry, folk SURVH VWRU\ IRON VRQJV SHRSOH ¶V WUXVW DQG HWF While Pudentia (2014: 2) argues that oral tradition do not only encompasses legend, myth, spells, and other stories as interpreted by many people. The oral tradition also includes a variety of things such as traditional wisdom, value systems, traditional knowledge, belief and religious systems, rules and social structure, system of medicine, history, law, customs, ceremonies/rituals, traditional games, and a varied form of art. Thus, in this research the word tradition is understood as a tradition passed down from one generation to the other through the speech.
The pasambahan tradition is a unique Minangkabau oral tradition in the form of dialogs. Pasambahan derives from the word sambah and is given affixes pa ± an. Sambah in bahasa Indonesia means ³6HPEDK´ ZKLFK FRQQRWHV D VWDWHPHQW RI respect and humility, a word which is addressed to a person who is glorified (KBBI, 2008(KBBI, : 1301, then pasambahan is defined as a respectful notification (Djamaris, 2002: 44). In some regions such as Bukit Tinggi, pasambahan is also known as panitahan. Amir (2006: 40) reveals that what is meant by pasambahan is not translated as ³SHUVHPEDKDQ´ EXW KDV WR EH WUDQVODWHG ZLWK ³QHJRWLDWLRQ´ EHFDXVH WKH IDFW is pasambahan is a negotiation to reach an agreement.
Ceremonial oration is a speech which is conveyed in the language of the custom, namely a special variety of Minangkabau language (Rosa, 2014: 2). According to Navis (2015: 276) the exclusivity of the ceremonial oration language is shown by the fact that the language style and the expressions that are used is the result of literature which has the same quality as kaba and pantun. According to Rosa (2014: 3) ceremonial RUDWLRQ LV DOVR QDPHG DV ³SHQJKXOX ¶V FORWKHV´ because the ceremonial oration is essential part in customary ceremonies. Ceremonial oration (pidato adat) is interpreted with the language of customary ceremonies and through ceremonial oration, customary decisions are decided to be valid or not. A ceremonial oration is delivered by a person who is chosen as the orator has the position as a traditional leader.
The Pasambahan tradition is usually performed in every ceremony such as the ones aforementioned, whereas Ceremonial Oration Batagak Gala is a tradition which is carried out by the people of Minangkabau to malewakan (officiate) the bequeathing of a custom title to a male who is chosen to be the leader of the clan (penghulu) in the Minangkabau community (Rosa et al., 2011: 118). This tradition is commonly called as Malewakan Gala, a tradition which is performed when a male is bequeathed a custom title by the kinsman from the PRWKHU ¶V OLneage (matrilineage). The bequeathing of the title occurs in two conditions; firstly, when a man enters the age of marriage, secondly, when a man is chosen as the head of the clan (penghulu).
A tradition which develops in certain society surely has its own value either for an individual or his or her group. A value is something that enhances human in line with the essence. In relation to religion, a value is a concept on the highest appreciation by people on some key issues in religious life that is sacred thus becoming the guidance in religious behaviors of the people concerned (KBBI, 2008(KBBI, : 1004, while religion is something that is related to the subject of religion, faith, piety, and obedience (Endarmoko, 2006: 519). Besides religious values, the values of harmony become the focus of this research, where harmony is a social condition characterized by the presence of harmony, suitability, or nonconfrontational condition.
In the literatures on social science, harmony is interpreted with the term integration, which means the condition and process in the creation and maintenance of various interaction patterns among autonomous units. Harmony reflects mutual respect and mutual understanding (Lubis, 2005: 8). Living harmoniously means living with mutual respect, tolerance, and accepting differences just as any other matters. Living harmoniously also means ³IULHQGVKLS´ RU PXWXDOO\ EHQHILFLDO JURXSLQJ In the context of inter-religious harmony, the formulation of inter religious harmony contains three elements: (1) willingness to accept differences of faith with other people or groups; (2) allowing other people to carry out the teachings which they believe in, and (3) ability in accepting then enjoying the atmosphere of solemnity felt by other people ZKHQ WKH\ SHUIRUP WKHLU UHOLJLRQ ¶V WHDFKLQJV (Puslitbang Kehidupan Keagamaan, 2011: 5).

LITERATURE REVIEW
The Association of Oral Tradition (Amir et al., 2006: 2)  The results of the above mapping research has provides sufficient information on the existence of oral tradition in West Sumatra. Due to its nature of only providing a map, the comprehensive picture of one of the oral tradition has not been seen. The mapping helps the researcher to take advantages from the data that has been collected from the previous research. In addition to that, this research also complementarily shows the aspects that have not been identified by the Center for Research and Development of Religious Literature and Heritage as well as Amir et al., namely the effort in providing information on the potentials of the cultural values as a source of raising religious harmony.
The research on pasambahan tradition and ceremonial oration in Batagak Gala Penghulu in West Sumatra has been carried out quite frequently. Some studies are generally related each other; thus, they can support the conclusions in this research. Some of them are the examinations which were completed by Rosa (2014), Kasih (1993, Medan (1976), Rahmadani (2013), Fadli (2012. These studies define pasambahan as one of the oral tradition in the form of a dialogue between si alek (guest) and si pangka (host) in Minangkabau dialect using rhymes, phrases, and parables (Fadli, 2012: 2). Also, Pasambahan is interpreted as one of the element in the batagak gala Penghulu ceremony which is performed to convey the intention and purpose in a respectful way (Rahmadani, 2013: 3).
The studies also impart knowledge on the structure of meaning, structure and value in Pasambahan Tradition and Ceremonial Oration of Batagak Gala Penghulu as was carried out by Rosa (2014: xiii). The study showed that firstly, based on physical structure, the text of ceremonial oration comprises of introduction, sirih pinang, malewakan gala speech and closing. Based on the content of the structure, it comprises of two parts, those are bungo ceremonial oration part and body of pidato adat. In the content structure, it is found that there are twelve basic patterns, the occurrence of which is varied in each text, and even can still be enriched with additional formula. The use of the content formula is very influenced by the style of the orator and the custom SULQFLSOH ³salingka nagari´5 which prevails in Minangkabau. Secondly, based on the denotative meaning, a ceremonial oration is a cultural necessity to support the idea of the inheritance of custom title to men in the cultural view of the Minangkabau community. Whereas, based on connotative meaning, a ceremonial oration carries an important idea that men acquire the right for high heirloom inheritance right, especially in the bequeathing of the title sako adat. Thirdly, based on the function, this ceremonial oration serves as the one who legitimize cultural institutions, enforcer and overseer of the enactment of the community norms, and media for the inheritance of the Minangkabau culture. Rahmadani (2013: 11-12) in hes study on cultural structure and values of Minangkabau in the script pasambahan batagak penghulu di Kurai, a nagari in Bukit Tinggi, concluded that; firstly, the structure of pasambahan in the si pangka side and si alek side are found, the elements which build it are opening, statement of sembah, statement of intent, ending of sembah, answering to persembahan and ending of sembah, assertion, temporary suspension, and adjustments. Secondly, Minangkabau cultural values which are found in the script are; the value of humility, and respect towards other people, the value of deal and discussion, the value of precision and accuracy, the value of obedience and conformity towards customs, the nature of human life, the nature of work to human, the nature of human towards time, the nature of human towards nature, the nature of human relationships with others. Whereas, the dominant cultural values found in Pasambahan Batagak Penghulu script are the value of culture, the value of precision and accuracy and the value of deals and discussion.
Thus, the result of the study present the picture of how the tradition is performed, the variations of pasambahan adat speech tradition, when pasambahan is performed and what actions that should be done to preserve the tradition. One of the examples is through the activity of exchange of indigenous knowledge as one of the ways which can be done to preserve a tradition in the local community, so that the existing knowledge which has become an important element in a culture will not simply fade away (Fadli, 2012: 13 The values of harmony can be found in the historical aspect or their origin, the staging aspect, and movement aspect. Besides that, there is a change in the Lengger Dance, where the dancers of Lengger who were previously performed by men are changed by women dancers. This occurs because there is a shift in the culture of the people. Based on history, the staging and movements of dancers, the art of lengger mask has experienced adaption with the development of age for the sake of maintaining its existence. The art of lengger mask of Giyanti village, Kadipaten, Selomerto Sub district, Wonosobo districtbecomes an adhesive of harmony of religious community. People have mutual purpose of preserving art and culture which was inherited by their ancestors. Without looking at status, occupation and even religious, the people preserve the art of topeng Lengger dance together (Samidi, 2015: 45).
Many researches on oral tradition in the form of final paper, thesis, dissertations or research reports in universities have been conducted, but what is rarely done is the research on the religious and harmony values. Off course, all the results cannot be delivered, but what is clear is that this research is in the position of carrying out reassessment and complementing existing researches in the form of final paper, thesis, dissertation, or research reports. Besides that, the position of this research is as one of the studies which is conducted by the research institution under the Ministry of Religious Affairs in order to give information to policy makers in the Ministry of Religious Affairs on the potential of cultural values as a source in increasing religious harmony.

RESEARCH METHOD
The main source of the data in this research is the text of Pasambahan Batagak Gala Penghulu Musdah Dahrizal (PBGPMD) which is used for the purpose of learning. The data comes in the form of explanation by taking in some verses or sentences in the text which contain religious values and harmony that refer to the thought of the Minang people according to the daily customary use.
The acquisition of data for this research applies the approach which is suggested by Danandjaja (2015: 63). He stated that UHVHDUFKHUV FDQ XVH WKH µIRONORUH DSSURDFK ¶ when they are researching for materials on oral tradition. As it had been previously PHQWLRQHG EULHIO\ WKDW WKH ZRUG µfolklore ¶ derives from the English word µIRONORUH ¶ ZKLFK FRPSULVHV RI WZR ZRUGV QDPHO\ µfolk ¶ FRPPXQLW\ FROOHFWLYLW\ DQG µlore ¶ (tradition; some of the cultures which have been inherited from generation to generation). Thus, folklore consists of two elements: community and tradition in the community. So, in a research of the resources of oral tradition, there are two elements that need to be studied, namely community and its culture in one hand and its traditions which have been passed on orally on the other hand.
This research suggests that the religious values and oral tradition that are being researched cannot be found directly. Instead, the values can be interpreted by using semiotics method, using the study of connotative meaning (Zaimar, 2015: 398). In the semiotics study model, there is what is termed as semantic aspect, one of which is theorized by Roland Barthes through the theory of signification. With this theory, Barthes shows the expansion of meaning (connotation). This theory is based on signifier (form) and signified (concept) which is told by Ferdinand de Saussure. With this theory, reading can reach the second stage of understanding. Signification is the arrangement of denotation and connotation (Sunardi, 2004: 73). Thus, to be able to find both values, researchers have to check both arrangements, namely denotation and connotation.

Pasambahan Tradition and Ceremonial Oration (Pidato Adat) in Batagak Gala Penghulu
The Minangkabau people are a unique community, who believe that their  Alfian (2005: 84). It reveals that the above saying is the manifestation of the Minang community in living the life where the upbringing and the instilment of culture is done through written and oral tradition in the form of analogy. Nature with all that contain therein becomes learning discourse on life, whereas customs are the guidelines or the rules in life. The Minangkabau custom is an ideal custom, which was designed and prepared by the ancestors to reach happiness in the world and hereafter. The teachings are usually written and told in the form of pepatah-petitih (proverbs) and rhymes which are delivered by the pemangku adat (traditional authority) in the custom speech, in tambo-tambo or studies on customs.
Traditional speech, namely pasambahan and ceremonial oration, is the core of a ceremony, this ceremony is in the appointment of a penghulu (BGP) (head of clan) or negotiation between two parties, which Amir (2013: 58) mentioned as pasambahan, for instance pasambahan kamakan (speech before eating; this is to invite people to eat before the main negotiation starts), pasambahan manjapuik marapulai, pasambahan mintak diri, and pasambahan manjapui maik. Custom orator (penutur adat) in the pasambahan tradition and ceremonial oration are people who are fluent in speaking according to custom and are intellectuals, namely ninik mamak, one of the elements from tali tigo sapilin (tungku tigo sajarangan). 6 Their roles in this case is as negotiators for their people, therefore the orator of the pasambahan and ceremonial oration become the representation of their people in the negotiations process with other groups. In other words, they become the savior of their people from shame and from being degraded and they build up their honor as well. In the custom of the Minangkabau, procedures of pasambahan is the first institution on the ways in being courteous, ways in making small talks by everyone who meets in a musyawarah (forum or colloquy) (Tandiko and Rajo Batuah, 2015: 185).
According to Medan (1976as cited in Djamaris, 2002 pasambahan and ceremonial oration have similarities and differences; on the other hand there are some who stated that there are no differences, one of whom is Mak Katik (interview, 25 February 2016). He stated that there were no differences between pasambahan and ceremonial oration in terms of text and content, but if pasambahan or ceremonial oration is recited using langgam Piliang it would be called pasambahan, and if pasambahan or ceremonial oration is recited using langgam Caniago then it is called ceremonial oration. Different with what Zulkifli 7 disclosed on pasambahan and ceremonial oration. He shared the same opinion with Medan that pasambahan and pidato are different. In terms of age, ceremonial oration is younger than pasambahan. This can be seen from the beginning of the existing ceremonial oration which appears after the development of new life, in other words bureaucracy had existed. In terms of performance, ceremonial oration is performed by standing up and when it is performed by sitting cross legged then it is called pasambahan. Pasambahan is consultative negotiation, mutual respect or to have democracy in the manners of the custom of the Minangkabau. Besides, in the ceremonial oration one mentions oneself with the word sayo, whereas in pasambahan it is done by saying ambo. Djamaris (2002: 64-67)  7DOL 7LJR 6DSLOLQ´. The appointment of penghulu has some stages, among others are, firstly, consultation to replace the penghulu in the smallest circle namely the deal among a family to replace the former penghulu. Secondly, consultation of siblings of four mothers, or it is commonly called as anak ujuang ameh. Thirdly, it is consultation of clans in the same jorong. Fourthly, Malewakan Gala in one nagari. 9 Generally, in the Minangkabau custom there is what is called as adat sabatang panjang, which is the entire of Minangkabau custom have the same core. In addition to that, there is also adat salingkar Nagari, a custom that exists in nagari. Although it has different stages, they have the same core. 10 That is the reason why there are some differences in pasambahan tradition and ceremonial oration in the regions of darek and rantau. One of the differences is seen from the procession and spoken language (dialect) that is used, for example, the appointment of penghulu in the Minangkabau tradition requires the slaughter of a buffalo, where in the sabatang panjang custom means one penghulu one buffalo. But if there are four appointments of penghulu in a nagari, the number of buffalos that needs to be slaughtered is only one, this is what is called as the custom salingkar nagari. As for the BGP procession in rantau region especially in Pariaman region is very much different from what is carried out in Pariangan Tanah Datar area. One interesting example of BGP in Pariaman, like in nagari Dagur there is a head of a buffalo which is put up on a living tree and headed to the procession. Whereas in the BGP in Pariangan Tanah Datar, the head of the buffalo is not put on a high place but it is put in the location of the procession as one of the requirements of the appointment of the penghulu.
It is presumable that the BGP tradition has existed prior to the arrival of Islam in Minangkabau region. As for the origin of BGP, it can be seen from Kaba Cindua Mato which is known as the myth of Bunda Kandung and Cindur Mata (Yusuf, 1994: 1). Kaba Cindua Mato is a folklore which has a very important position in the Minangkabau traditional treasures. According to Manan (1967: 81) the essence of Kaba Cindua Mato is the teachings in custom and religion as the viewpoint and attitude towards life of the Minangkabau society in the past. Although in general this story is considered as common wealth, the content or the messages therein are not the collective perspectives of the people. According to Mansoer (1970) and Dt. Radjo Panghoeloe (1982) as cited in Yusuf (1994: 2) every tukang kaba is free to insert personal viewpoints or the general viewpoint which is occurring at the time, whether in front of the public, copy or the book that is written by a person. Thus, some of the religious teaching contained in kaba is the viewpoint of the author. Abdullah (cited in Analisa Journal of Social Science and Religion Volume 01 No. 02 December 2016Pages 239-258 -Yusuf, 1994 suspects that the mystical elements mentioned in the kaba are written and formulated by mystical teachers when there existed many Islamic centers in Minangkabau in the 17 th century. It has been explained before that pasambahan and ceremonial oration in BGP is spoken custom between the host (si pangka) and guest (si alek). The used language is different from the language in the family life. This is marked by many words as figurative expressions, petatahpetitih, pantun, and talibun 11 and the organized sentence arrangements which are to produce a rhythmic and melodious voice when it is read. Based on the language feature, pasambahan is categorized as rhymed prose or poem (Djamaris, 2002: 44). According to Minangkabau people, there are two definitions of a language; firstly, language is a means of communication among society, which is commonly known as kato (word). Secondly, language is a set of manners which is called baso (basa = budi bahasa), which are standard of manners in communication and interaction with other people (Navis, 2015: 254). Therefore, the people of Minangkabau are inevitably required to understand and to be able to use figure of speech and proverbs. If one does not understand what a person says, then he or she will be considered as bebal, uncivilized or impolite if speaking frankly. In the context of pasambahan and ceremonial oration in BGP, many of the young generation of the Minangkabau do not understand the meaning of pasambahan and ceremonial oration. This is caused by the lack of human resources who are able or fluent in pasambahan and ceremonial oration. The young generation think that the used language in this ceremony is not interesting. Furthermore, people who teach it do not really understand the literature properly.
Referring to the research by Rosa (2014: 496), the physical structure of pasambahan and ceremonial oration text comprises of opening speech, sirih pinang, malewakan gala speech, and closing speech. But in the text pasambahan batagak gala penghulu Musdah Dahrizal (PBGPMD) 12 which is the corpus in this research. Verse 309 ± 311 13 mentions that the sequence of the theme of pasambahan consists of sambah, basa-basi, and sirih pinang. The next is the theme in delivery of the object and purpose and lastly closing. Based on the content structure in PBGPMD, many myths appear by retelling tambo as the historical source of origin. This is implicitly stated in verse 761 ± 1092, which reviews the history of the name of the place of origin (luhak Tanah Datar, Agam, and Lima Puluh Koto) also the spread of the the Minangkabau region (rantau). The pantun also shows the characteristics of Tuan Mangkudum in Sumanik, Tuan Titah in River Tarab, Tuan Indomo di Saruaso, Tuan Kadhi di Padang Ganting, tuan Gadang di Batipuh. Besides that, the pantun also tells about the custom tradition Bodi Caniago, Koto Piliang, the description of rumah gadang when there is a meeting, the meaning of the equipment of penghulu which are used when the BGP procession is undertaken, such as the meaning of destar penghulu, meaning of the black dress of the penghulu, meaning of the large legged trouser which is used by the penghulu, and the depiction of the keris (dagger) of the penghulu. Based on the pasambahan tradition and ceremonial oration, these days the tradition is taught by way of face to face and by utilizing texts that had been written beforehand by the orator. In the past, this tradition is taught in surau (a small mosque which is not used for Friday prayer), but nowadays the surau have lost their functions, making the children of Minang no longer use surau as a place for learning tradition and religion. In Pariaman, this tradition is called wirid pasambahan, where the socialization of the learning is done in public space, but nowadays the activity is no longer existed and only few people are interested in learning about it. There is no age limitation for those who want to learn pasambahan and ceremonial oration for BGP. It is also not easy to become juru sambah and ceremonial oration in BGP. Musdah Dahrizal for instance has learned this tradition since he 20 Figurative impartiality of tuan Kadhi in establishing the law, although it was to a close relative or relatives. 21 Characteristic of tuan Gadang in Batipuh Pages 239-258 was 6-year-old. The orator pasambahan and ceremonial oration for BGP are highly respected and have a special place in the society. They are paid with 1 gold (2,5 gram), which is equal to around 1,5 million Indonesian Rupiah. This is due to the fact that the work of the orator of sambah is not easy, so they are paid well. The orator really needs to be able to memorize and to understand the content and meaning of pasambahan and ceremonial oration for BGP.
The orator pasambahan and ceremonial oration in BGP is a lecturer at The University of Andalas. Her name is Musdah Dahrizal who is prominently known as Mak Katik. Another one is H. Aresno Dt. Andomo. He is the Head of Section on Implementation of Sharia Law in the Ministry of Religious Affairs of Batu Sangkar and Head of Custom Institution Kerapatan Nagari in Pariangan. In terms of age, they are of different ages where one is elder and the other one is middle aged. Mak Katik was born in 1949, which means he is 67-year-old, while Datuk Andomo was born in 1960, although due to certain matters it was written 1962 in his birth certificate. He is now 56-year-old. According to both of them, nowadays there are many young generation who are reluctant to learn the Pasambahan tradition. Whenever there is a young Minang person who wants to learn the Minang tradition, especially the Pasambahan tradition and ceremonial oration for the BGP, Mak Katik expects the person to bring a mirror and a knife. These two tools represent certain meanings. When the young person brings a mirror, it is meant as a symbol that the person has to see and to understand himself or to reflect on himself before seeing, understanding and correcting other people. Whereas, the knife brings the meaning that if a knife is continuously sharpened, it will certainly become sharp. Thus, if one continuously learns the custom of Minangkabau on a regular basis, then the custom will attach to the person learning it.
If a knife is not sharpened, then it will become blunt. So does our mind. If we do not utilize our mind, it will be damage and we cannot think creatively.
The pasambahan tradition and ceremonial oration in BGP are done at the rumah gadang, but if the rumah gadang is not big enough the ceremony took place outside the rumah gadang by setting up a venue which is built from natural materials like bamboos. Only respected invited people can attend the BGP procession. These people include ninik mamak, khatib, imam, labai, the leader of the clan, and representatives of the government. Those who are not invited cannot be present and sit to have discussion in this procession. The attire which is worn in the BGP procession depends on the position in the community. The penghulu who is going to be appointed wears traditional attire like the other penghulu but the destar without a ring. The Penghulu who attend BGP also wear penghulu attire with the destar with a ring. The women wear black attire which is called basiba dress with a sarong cloth (Rosa, 2011: 120). The implementation of this BGP relies heavily on mutual cooperation among the people in a clan because there are many stages of the ceremony that has to be adjusted with the custom and religion. It is uncommon for a clan not to have a penghulu (head of a clan) that has not been inaugurated; therefore the clan carries out the inauguration ceremony so that all the people will know who their leader is. A penghulu plays an important role in the community to deal with the problems, whether internal or external, involve a penghulu.

Religious and Harmonious Values in Pasambahan Tradition and Ceremonial Oration Batagak Gala Penghulu
Referring to the PBGPMD text, there are some words or sentences which show religious and harmonious values. But, it needs to be understood that explicating a pasambahan text and ceremonial oration cannot be interpreted textually because there are many interpretations contained in the PBGPMD text. According to Navis (2015: 255), the Minangkabau literature has a lot of terms which have double meanings and it is common to change the meaning of a term to differentiate the meaning of a noun which has similar meaning. As an example the way of saying the word istana, which is pronounced in Minangkabau language as istano PHDQV WKH NLQJ ¶V UHVLGHQFH Meanwhile, ustano PHDQV WKH NLQJ ¶V WRPE Rosa (2014: 501) said that the coming of the Islam as religion and civilization tainted the sanctity of custom. But then through assimilation process, the custom is welcomed and its strength was supported by religion. The old struggle between religious and custom caused a consensus among religion and custom through what is called as Adat Basandi Syarak, Syarak Basandi Kitabullah (custom is based on sharia and sharia is based on Kitabullah). Kitabullah in this case is the holy 4XU ¶DQ as the guidance of life.
In this regard, the religious and harmonious values which are going to be discussed in this study are based on the foundation of thoughts of the people of Minang according to their daily customs, namely: first, logic which is called alue patuik. Secondly, obedience to the law which is called anggo tango. Third, ijtihad (individual interpretation)/researches which is referred as raso pareso. F ourth, consultation or consensus (Amir, 2011: 78). The first foundation is logic (alue patuik), where people of Minang are required to be able to put the right things in the right place or the right man in the right place. The purpose of this principle is to create justice in the society and at the same time to avoid disputes among the members of the society which rely on the truth that is originated IURP WKH KRO\ 4XU ¶DQ 7Kus, the application of this system leads to a prosperous and harmonious life based on justice. This is reflected in the opening part of the PBGPMD text namely sambah, where every unit who was present in the BGP procession, namely urang ampek jinih (penghulu, religious scholars (imam katik), manti (cadiak pandai), dubalang (urang mudo) associated as people who are responsible to create justice in the society, namely: the first sambah, a simile to a penghulu: 6XQJXDKSXQ ND DQJNX« Di tiboan sambah jo panitahan Mako sarapek nyo pulolah Angku pangulu ambo Nan gadang basa batuah Nan cadiak nan tau pandai $OWKRXJK WR PH « Sent sambah and orders Then as much as one can get also You are my (leader) penghulu Big Gadang gives luck Astute with much knowledge and cleverness Cadiak lai buliah ka baguru Tau lai buliah ka batanyo Tiang adaek sandi aluan Payuang panji marawa basa Nyawa nagari adaek kato Astute can be a place to learn from Knowledge can be a place to ask The pole of basic custom guidance The flag of ensign the emblem of greatness The life of nagari the words of custom If we take a look at the figurative text above, we can formulate that the position and the role of a penghulu is truly essential, where the penghulu is a person who is inaugurated by the people as a protector, the judge who can make a decision on disputes in the society become the beacon of hope in overcoming the problems of the society. The second Sambah, is for the religious scholars, muezzin (bilal) and preacher (khatib): The figurative language above states that an Islamic scholar is an expert and practitioner of religion, and whose function is as a role model for a group of people who hold dalil µDTOL and naqli for solving religious and community problems. The third is Sambah for intellectuals. The figurative meaning explained in the sentence below shows that an intellectual uses his or her intellectualism and intelligence to help society to solve various problems carefully. He has to be knowledgeable and be able to place things where they should be, intelligent and be wise with all the conditions around him or her both physically and spiritually. Besides MXVW DV GHSLFWHG LQ WKH SKUDVH ³tau di raso jo pareso´, it has a similar value with WKH 4XU ¶DQ DQG in Luqman: 18, it illustrates that the intellectual people of Minangkabau need to be humble and to keep being a low profile as symbolized in the phrase the science of paddy the more filled the more it is tilted down. Allah also reminds us not to walk on earth arrogantly. The second Foundation is law and order (anggo tango), regulations or anything that is determined and has to be obeyed according to the custom which is the legal basis of the custom of Minangkabau is named limbago nan sapuluah. In other words anggo tanggo performing something has to be in line with the main regulation and rules of the household custom. The purpose of this second foundation is to create discipline and order in the kinship, the surroundings and in managing the nagari. Limbago nan sapuluah comprises of: firstly, Cupak 22 nan Dua, namely (1) cupak usali (original), (2) cupak buatan (complementary), Secondly, the law (Undang) Nan Ampek, namely (1) the laws of Luhak Rantau, (2) the laws of the formation of Nagari, (3) the law of inside Nagari, (4) the laws of nan 20 (Custom law dealing with crimest Based on the elaboration of Djamaris (2002: 64-67) on the values of pasambahan and custom speech, it is clearly also seen in its form, among others namely, (1) value of humility and appreciation towards other people. These values are seen in the pasambahan event and in the ceremonial oration, where before starting the BGP event, sambah orator greets all the guests one by one by stating the customary title, like in the PBGPMD text which has been previously described on sambah menyambah. In addition, sambah orator always claps both hands when performing manyambah as a form of respect towards the traditional leaders who attended the BGP event.
(2) The value of musyawarah, where everything that is done and decided is done through deliberation beforehand. This value has already been seen from the stage in the process of election of a penghulu aforementioned. Besides, it can be seen the principle of democracy has been carried out in pasambahan event and custom speech BGP where everyone is respected, treated equally by being greeted one by one, (3) the value of precision and accuracy that in the event, the sambah orator who has been appointed to represent the host and the guests has to listen attentively to what is stated by the interlocutor of sambah orator. Thus, when responding to the sambah from the opposite side, he usually repeats the words stated by the opposite side, and then he checks if there was a mistake in the words he repeated. After the interlocutor responds and confirms the correctness then he starts to answer the questions from the opposing sambah.
(4) Obedient and submissive to custom. Customs are rules in daily lives, it bounds individuals and the society to submit and obey. Otherwise, it will only become a lip service which is meaningless and has no function whatsoever. But according to Amir (2011: 73), although the custom of Minang becomes a pride and something that is revered to, it will not mean anything if the ³SHRSOH RI 0LQDQJ´ WKHPVHOYHV IHHO WKDW WKH\ are not bounded to obey the custom. There is D VD\LQJ WKDW JRHV ³adat babuhue 27 sintak 28 , syarak babuhue mati´ ZKLFK PHDQV WKDW WKH bond in custom can be opened to receive new developments which are in line with the consideration of alue and patuik according to the logic of the people of Minang. On the contrary the bond can also be tightened strained towards a rule of custom which has started to get loosened. It is like what occurred at pasambahan tradition and custom speech in BGP, an example of which is about the duration of pasambahan and ceremonial oration which nowadays can be adjusted to the wish of the host, whether it is 27 Buhue means a knot or bond 28 Sintak or Sentak meaning easily loosen or tightened going to be extended or shortened. Moreover, whenever pasambahan tradition and ceremonial oration BGP are held, the committee should check whether the implementation already in line with the prevailing custom or not.

CONCLUSION
The tradition of pasambahan and ceremonial oration are oral traditions which reflect the custom of Minangkabau. Therein reflects the values of religion and harmony which can be seen from the form and content of the pasambahan tradition and ceremonial oration in Batagak Gala Penghulu (BGP) in Minangkabau. The religious values which are seen in the Pasambahan Batagak Gala Penghulu Musdah Dahrizal (PBGPMD) text are the values of morality and monotheism of which directed towards piety as the core of Islamic religious values. The values of morals can be seen in mutual respect, politeness, inferiority and fairness. The value of monotheism can be seen from the citation of religious symbols in the PBGPMD text, namely words of tribute to Allah, and the prophet Muhammad. The values are also in line with thoughts of the people of Minang and in accord with the custom which is used on the daily basis. As for the value of harmony, it can be seen from the form of pasambahan tradition and custom speech BGP, where there is element of mutual cooperation, deliberation, and mutual respect among clans. 5. How to present picture, graph, photo, and diagram a. Picture, graph, figure, photo and diagram should be placed at the center b. Number and title should be typed above the picture, graph, figure, photo and diagram. c. Number and the word of the picture, graph, figure, photo and diagram should be typed in bold, 12pt Font Georgia and at the center, while title of them should be typed in normal (not bold). d. Number of the picture, graph, figure, photo and diagram should use an Arabic word (1, 2, 3 and so forth). e. Source of the picture, graph, figure, photo and diagram should be typed below the table, align text to the left, 10pt font Georgia. f. Picture, graph, figure, photo, and diagram should not be in colorful type (should be in white and black, or gray).
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