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"As a cultural performance, Randai traditionally organized in various ways as part of a traditional Minangkabau order adaik salingka nagari prevailing at each villages in Minangkabau. As a folk theater, Randai always produced with distinctive-looking dramaturgi order relating to the socio-cultural order prevailing in Minangkabau society. Based on the description dramaturgi aspects of it, seems a common thread that connects the various elements of the socio-cultural order Minangkabau society. Study of this paper will show that the Randai dramaturgy typically constructed based on the existence of elements and traditional values in the range of ethnic communities in the Minangkabau of West Sumatra. Various political and social factors in the development of the Minangkabau people, especially friction factor of the indigenous, Islam, and the state, has affected the order of the elements and the traditional values that build Randai dramaturgy. As a result, aspects and positions where Randai dramaturgi inMinangkabau society today, is also changing."

"As a cultural performance, Randai traditionally organized in various ways as part of a traditional Minangkabau order adaik salingka nagari prevailing at each villages in Minangkabau. As a folk theater, Randai always produced with distinctive-looking dramaturgi order relating to the socio-cultural order prevailing in Minangkabau society. Based on the description dramaturgi aspects of it, seems a common thread that connects the various elements of the socio-cultural order Minangkabau society. Study of this paper will show that the Randai dramaturgy typically constructed based on the existence of elements and traditional values in the range of ethnic communities in the Minangkabau of West Sumatra. Various political and social factors in the development of the Minangkabau people, especially friction factor of the indigenous, Islam, and the state, has affected the order of the elements and the traditional values that build Randai dramaturgy. As a result, aspects and positions where Randai dramaturgi inMinangkabau society today, is also changing."

"ABSTRAKTujuannya untuk mengetahui apakah Rabab Pasisia Raba Abidin dan Bainar dapat digolongkan sebagai sastra lisan dan mengetahui struktur cerita tersebut (bentuk teks, filler Sylables, pantun dan diksi (makna kata). Data primer diperoleh dari narasumber yaitu pendukung sastra lisan ini (tukang rebab, penonton, dan toko-toko kaset). Data sokunder diperoleh dari studi ke perpustakaan. Hasil analisis menunjukkan bahwa Rabab Parisia kuba Abidin dan Bainar dapat digolongkan sebagai sastra lisan tetapi berbeda dengan sastra lisan Minangkabu lainnya dan merupakan hasil kebudayaan masyarkat Pesisir Selatan yang telah dipengaruhi kebudayaan asing. Struktur ceritanya dari segi bentuk, berbentuk prosa liris, filler sylables ditujukan kepada penonton dan para tokoh-tokohnya, menggunakan pantun suka, duka, nasehat, dan pantun muda. Lebih banyak menggunakan makna denotasi dan boberapa makna konotasi.

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