NAN 7 CULTURE IN CONCEPT AND MANAGEMENT INDANG PARIAMAN PERFORMING ARTS: PERSPECTIVE LEVI-STRAUSS STRUCTURALISM
This study intends to reveal social structures and cultural occurrences in the Rantau Pariaman community. The quantity of performers and performance management are two characteristics that define nan 7 (seven) culture in indang performances. The performing art of indang is ingrained in the Pariaman community’s social structure. With the idea of nan 7 (seven) culture, indang art depicts the surau education system, which is influenced by sufi beliefs. On the other hand, various narratives can be utilized to decipher the elite structure—social groups—of Pariaman community. In accordance with Minangkabu culture, the community practices matrilineal ideology, which is the concept of descended from the mother, but from an Islamic perspective, they also create social stratification inherited from the father’s line. Sidi, Bagindo, Sutan, and Marah are the names of the four social classes of the Pariaman community. An anthropological paradigm known as Levi-Strauss structuralism enables scholars to identify various cultural phenomena that happen to and are exhibited by diverse ethnic groups that have their own cultures, such as the nan 7 culture as represented in the indang performance arts in the Rantau Pariaman community. Based on qualitative research principles, the primary means of gathering research data is the researcher. The research presented in this article demonstrates how syntactic and paralinguistic linkages can be used to explain nan 7 (seven) different cultures that are represented in the concept and management of the indang Pariaman performing arts.
Keywords: Nan 7 culture, concept and management, performing arts, Indang Pariaman, Levi-Strauss structuralism
