”Bundo kanduang limpapeh house ivory. A key grip puruation acupuncture. Amban puruak aluang bunian. Pusek jalo bun rope. In the village. Decorate in dragons. "
The word of the heritage depicts such a wonderful role of a mother in Minangkabau culture. True mother, or the term Minangkabau is called the Kanduang Bundo, he is a leader in the system of the matrilineal armpitbau.
The importance of the role of the Kanduang Bundo in the life of the custom and eroded in the written Minangkabau is obvious in the beautiful poetry. A Kanduang Bundo is attached as a limpapeh or the main post of the house because he is the 'house' and suri bay for all.
Home Gadang or traditional Minangkabau house, Batu House in Nagari Tungkar, Si seven, Lima Puluh City, West Sumatra.
The Kingdom of Fenceuyung, Puti Rahma Oesman (58) runs crossing in front of the Moon Palace in Fenceuyung, Flat Ground, West Sumatra.
Bundo Kanduang is personalized as a key grip puruak ambun, a bunian aluang cultivation or tamper of the heritage because she should be able to preserve the treasure of the heritage and resolve all problems of the house of the ivory. Bundo Kanduang as a pusek jalo a collection of ropes or the center of the rope pool means it should be able to occupy the family in its broad meaning. The Kanduang Bundo is an ornament in the village, a sumarak in the dragons given or decorations in the village and a rage in his dragons as well as indigenous guards and cultures in the Nagari civilization in Minangkabau.
In Minangkabau culture, women and men are placed balanced. The two sides of the currency, both are equally important, but distinguished by each function. In an understanding of awam, Bundo Kanduang plays a role as a successor of descendants, inheritors, and pastures, as well as those who are obliged to store and maintain the treasure of the heritage. Meanwhile, men of the line of the mother plays and retaining the treasures of the heritage.
The role of women in Minangkabau culture is very large and their existence is very expected. The matrilineal system that binds the drought braids based on the maternal line and puts the boys and girls is the clan of the psychiatry of the kian associates the position of Minangkabau woman at noble and respected position.
The traditional foaming aid of Luhak Five Puluh Minangkabau, Rini Susanti (50), Daswita (43), and Fikha Mutiarani (16), is in one of the Gadang Houses in Payakumbuh, West Sumatra.
Bundo Kanduang Kingdom of Fenceuyung, Puti Reno Raudha Thaib (69) poses at one of the corners of the Moon's Palace in Fenceuyung, Flat Land, West Sumatra.
The validity system in Minangkabau tribes is unique among many tribes in Indonesia. The existence of confusing the khazanah culture of the country that now only leaves 1.340 tribes throughout the archipelago.
The matrilineal system also places tribes that are centered in the West Sumatra region are unique in the world’s eyes, parallel to similarity systems, such as Khasi tribes in Meghalaya, India, Nakhi tribes in Sichuan and Yunan, China, most of the Apache and Navajo Indian tribes in the United States, and some tribes in the Asia Pacific Islands region.
Photo and Text: Ismar Patrizki
The traditional cheerful mother of Luhak Five Puluh Minangkabau, Edmar (58) poses at one of the Gadang House in Payakumbuh, West Sumatra.
The traditional cheerful mother of Luhak Five Puluh Minangkabau, Riswan Sjaichani (66) poses at one of the Gadang House in Payakumbuh, West Sumatra.
The traditional women of Luhak Agam Minangkabau, Hafrina Octavieni (56) poses at one of the houses in Bukittinggi, West Sumatra.
The traditional cheerful mother of Luhak Agam Minangkabau, Efni (59) poses in his residence at Bukittinggi, West Sumatra.
Traditional women of Luhah Tanah Flat Minangkabau, Wira Novita (40) and Meliza (22), decreasing the stairs of the Moon's Palace in Fenceuyung, Flat Land, West Sumatra.
Ornamen heads of horny cerebony in the Moon's Palace in Fenceuyung, Flat Ground, West Sumatra.
Siluet is one of the traditional women of Luhak Agam Minangkabau in Bukittinggi, West Sumatra.
