Comparison of Traditional Clothing of Ibu Soko and Bundo Kanduang in West Sumatra and Negeri Sembilan

Comparison of Traditional Clothing of Ibu Soko and Bundo Kanduang in West Sumatra and Negeri Sembilan

Aszulhida Aman¹*, Ros Mahwati Ahmad Zakaria², Zuliskandar Ramli³

¹Institut Alam Dan Tamadun Melayu, Universiti Kebangsaan Malaysia, Bangi, Selangor

²Kolej Kemahiran Tinggi MARA Rembau, Pedas, Negeri Sembilan

DOI: https://dx.doi.org/10.47772/IJRISS.2025.905000162

Received: 29 April 2025; Accepted: 02 May 2025; Published: 04 June 2025

ABSTRACT

Traditional clothing is a dress that exists in every kingdom and era of government. The traditional clothes worn by the community lead to a civilized culture, and every culture have an impact to the community. Culture and custom depict a distinctive symbol of identity for the community that practices it. This study provides exposure to two types of clothing shared by a Minangkabau community in West Sumatra and Negeri Sembilan known as the Perpatih custom. The findings of this study will examine the differences in the uniqueness of complete traditional clothing and the meaning behind each symbol that represents the identity of two communities in different regions, but share one identity. Qualitative methods are used to analyze the uniqueness, differences, and characteristics of the clothes of Bundo Kanduang (Indonesia) and Ibu Soko from Minang (Malaysia). The results of this research lead to a design of traditional clothing style that is slightly different between the two but carries a symbol of the same leadership social identity.

Keywords: custom; identity; Minangkabau costume; symbol.

INTRODUCTION

The word “Minangkabau” in Negeri Sembilan is often associated with two elements: “menang” (win) and “kerbau” (buffalo). History records that it began around the 13th century when the Singasari kingdom and its prince went on an expedition to Minangkabau, where a conflict arose between the prince and the local community. To resolve the dispute, the locals proposed a buffalo fight. The locals used a young buffalo, while the prince presented a strong and aggressive adult buffalo for the contest. The young Minangkabau buffalo, whose horns had been sharpened, slashed the stomach of the adult buffalo, as it was hungry and trying to suckle milk.

The proverb “Adat basandi syara’, syara’ basandi Kitabullah” means that the life of the Minangkabau community is based on Islamic law, following their religious beliefs and aligned with the teachings of the Quran (Shima, Khalil, 2013). Although the traditional customs practiced by this community still contain elements of animism and Hinduism, Islam remains a strong foundation in many aspects of Minangkabau life. Asia is known as a continent rich in cultural diversity, one of which is the Malay culture that continues to be practiced today. Countries such as Malaysia, Indonesia, Brunei, and Singapore still uphold the customs and traditions of their ancestors, which are believed to have been passed down for centuries.

In Southeast Asia, Malays are known as one of the largest indigenous groups, residing in Indonesia, Brunei, the southern Philippines, Singapore, southern Thailand, Cambodia, and Vietnam, as well as in some minority communities outside Southeast Asia, such as in South Africa (Abdul Razak, 2009). Clothing has been a necessity in human life for centuries. Each civilization has its own identity, including traditional attire representing its people.

The Minangkabau culture found in Negeri Sembilan is a community that practices Adat Perpatih as part of its cultural heritage. Adat Perpatih, which is uniquely practiced by the Malay community in Negeri Sembilan, differs from the customs of other states in Peninsular Malaysia. The ancestors of the people of Negeri Sembilan brought this identity of Adat Perpatih from the Minangkabau community in West Sumatra, Indonesia.

The similar traditions of both communities are evident in various aspects of Minangkabau life. Besides traditional attire (busana), Randai dance is another identity that was brought from West Sumatra to Negeri Sembilan (Samad, 2009). This shared identity has persisted, making Adat Perpatih accepted across all layers society of the Malay community in Negeri Sembilan, Malaysia. Traditional Malay women’s attire includes various types such as Baju Kurung, Baju Kebaya, Baju Kedah, and Modern Baju Kurung. The Baju Kurung is the foundational style worn by Minangkabau women. However, other special garments such as Baju Batabue and Baju Separuh Tiang are worn for specific ceremonies.

Adat Perpatih, which originated in the Minangkabau realm, predates Common Law (which began in 1066 AD). It was brought and adopted in Negeri Sembilan by migrants who settled in the area around the 12th century. Though adapted to the local context, the custom maintains its core matrilineal lineage system. Minangkabau customs evolved through three key phases: Undang-undang Nan Tigo, Adat Tarik Baleh, and Adat Tuah Disakato, structured by Datuk Perpatih Nan Sebatang. This gave rise to two lineage systems:

• I. Patrilineal (father’s line), associated with Datuk Ketemenggungan.
• II. Matrilineal (mother’s line), associated with Datuk Perpatih Nan Sebatang.

According to the official portal of the Negeri Sembilan State Government, these systems resulted in the Laras Nan Duo concept: Bodi-Cianago and Kota-Piliang. A unification symbolized by Batu Batikam and Batu Baling stones merged both systems into what is now known as Adat Tuah Disakato — the custom of the Minangkabau world.

Once adopted and developed in Negeri Sembilan, both customs were merged into a way of life called Adat Perpatih, a variation of the Minangkabau customs. It is a dynamic societal system that adapts to various situations over time. This tradition continues to shape the lives of local communities through principles of social harmony, including values, laws, constitution, customary authority, land ownership, family, nature, and other aspects of life.

LITERATURE REVIEW

Customs, culture, heritage, and traditions cover the way of life and practice for various races in every country, and have been preserved until now (Rohaizah, Asra, Naim, Taufik, 2018). Communities in Asian countries such as Burma, India, the Indonesian Archipelago, China, and Japan typically practice caste hierarchy as part of their cultural traditions, reflected through differences in attire such as textile colors, clothing styles, jewelry, and levels of education (Marcel, Zaira Mis, 2001). Although from different countries and regions, Malay cultures in Asia and the Malay Archipelago are closely connected due to centuries of economic exchanges and intermarriages among Malay kingdoms. In addition, trade and the nomadic nature of these communities have also contributed to the spread of culture among the Malay kingdoms.

Among the various styles of women’s clothing in the Malay world, one design that remains often regarded as a symbol of Malay identity is the “baju kurung”. In Indonesia, ethnic groups such as the Minangkabau people also wear the “baju kurung” as their traditional women’s attire. The use of this Malay attire is supported by the city council of Pekanbaru (Ari, Bunari, Yuliantoro, 2022), indicating that the design of Baju Kurung is one of the traditional outfits widely worn throughout the Malay world.

Research on traditional Malay women’s clothing has been conducted from several perspectives, with most past studies focusing on styling and usage. Many studies have concentrated on the pairing of clothing, such as baju kurung with “sarong”, discussing the values and functions of attire in Malay culture. In Negeri Sembilan, traditional attire refers to clothing determined by certain groups within the community to represent status, position, and class within the social hierarchy (Alias, Mastura, 2019). Minangkabau clothing represents various societal roles such as ‘Ibu Soko,’ ‘Dato’ Bentara Perempuan,’ and ‘Dato’ Penyandang Pusaka.’ For daily wear, Minangkabau women often don the ‘kebaya setangah tiang’ and ‘baju kurung’. This is recognized by the Malaysian Department of Culture and Arts, which acknowledges the ‘baju kurung Ibu Soko’ and ‘Kkebaya setengah tiang’ as exclusive attire in Negeri Sembilan.

The baju kurung is also recognized as a symbol of Malay identity in Indonesia. Its usage is supported by the Pekanbaru city council (Ari, Bunari, Yuliantoro, 2022). In addition to Pekanbaru, several other regions in Indonesia especially area inhabited by Malays also use the ‘baju kurung’ as their traditional attire. The basic cut of the ‘baju kurung’ in Indonesia is similar to the cut in Malaysia, although the styles of the ‘kekek’ (gusset) and ‘pesak’ (side panel) differ despite having the same function—to provide comfort and freedom of movement for the wearer.

Besides being known for their distinctive and beautiful clothing, the Minangkabau people from Sumatra are often associated with the term merantau (migrating), as records show that they migrated to the East African coast and met the Malay people of Madagascar, where is more  Minangkabau people traveled to Temasik (now Singapore), Riau, and Negeri Sembilan around the 11th to early 12th century (Linda, Afriadi, Fatia, Raisye, 2021). These migrating Minangkabau brought their culture with them to these new places, such as Negeri Sembilan, where the ‘Adat Perpatih’ practiced today is a cultural form derived from the Minangkabau of Sumatra and is practiced by the Malay community in Negeri Sembilan.

RESEARCH METHODOLOGY

Based on cultural studies, observations were made of the groups being studied, focusing on their cultural practices, as this research aims to analyze cultural artifacts within Malay culture between two geographically distant regions that share a common cultural practice. The research design follows a framework used to collect and analyze data, and a qualitative design is appropriate for an exploratory study of communities that practice the same culture while residing in different regions. According to Ainul (2020), in Eriksen opinion in culture view is, each community has a different culture because ‘those abilities, notions, and forms of behaviors of each person in the society are acquired differently according to its culture’.

According to Richard, Byron (2003), a sociologist’s opinion (Clifford Geertz), from every society, every subculture within society, past or present, has had a moral code shaped by exigencies of life in that society or that subculture rather than by a glimpse of some overarching source of moral obligation. In this research, these two Minang costumes, it is evident that they serve a common purpose and are shared cultural expressions across two distinct regions

The study was conducted on the traditional clothing of two regions: the ‘Minang’ community in West Sumatra and the ‘Minang’ community in Negeri Sembilan. Despite being from different territories, both communities share the same life values and cultural understanding. The qualitative method used reveals that while the designs and styling of Minangkabau clothing in these two regions differ, the functions and cultural roles of the clothing remain the same. However, traditional Minangkabau attire is now primarily used for traditional dance performances or ceremonial occasions, rather than for daily wear as practiced by their ancestors, who used these garments to signify identity, beliefs, and adherence to cultural values.

Figure 3.1 illustrates an analytical framework of a shared culture between two different regions that still maintain traditional dress practices.

The figure above outlines the framework used for conducting this research. From a single Minangkabau culture, it is divided into two community groups in Malaysia and Indonesia, where the traditional attires ‘Bundo Kanduang’ and ‘Ibu Soko’ are analyzed. In the modern era, traditional attire is no longer worn daily but rather serves as costumes for special ceremonies or events. In Negeri Sembilan, particularly in the Kuala Pilah district, this attire is still worn during royal installation ceremonies or cultural celebrations that continue to be observed. Meanwhile, in West Sumatra, these traditional outfits can still be seen in several areas, such as Derek and along the coastal regions.

Theoretical Approach

The boundaries of this identity can only be understood when one trait is compared to other ethnic traits. Therefore, to fully understand the establishment and development of cultural identity, we must examine the values, emotions, ways of thinking, orientations, and underlying motives, rather than empirically assessing physical appearance or biological traits. Cultural identity can also be interpreted as a distinct component that ultimately differentiates one human group from another. Each group, society, or even nation should possess its own unique cultural identity that sets it apart. Thus, cultural identity becomes a social construct expressed through various forms of representation and perceived through the lens of others. It is conveyed through specific markers such as tastes, beliefs, attitudes, and lifestyles.

One of the primary ways humans communicate with one another is through clothing. Normally, we use various media of communication throughout our lives, and clothing is one such medium to identify cultural identity. Through clothing, the Malay community develops the ability to convey messages or present a specific persona, especially in traditional costume. Self-identity is shaped through the wearing of garments and reflects the social class and cultural sophistication we choose to embrace. Clothing can also be defined as a sign system that reinforces the cultural meaning of the body. Clothing is more than just a covering or protection for human flesh and skin; it is a system of signs interwoven with other sign systems in society. Through this interconnected network of signs, we manage to send messages that communicate the information we want others to see, such as attitudes, social status, beliefs, political tendencies, and more. Therefore, traditional clothing such as that of ‘Bundo Kanduang’ and ‘Ibu Soko’ is not only functional but also symbolizes the women’s (leader) identity and social role within their community. The analysis used to achieve the objectives of this research involves identifying the visual signs found in the ‘Bundo Kanduang’ and ‘Ibu Soko’ attire.

As an overall way of human life, culture encompasses both material and non-material aspects of group life. Material culture or artifacts refers to all human-made creations that are tangible, while non-material culture consists of abstract creations such as beliefs, customs, laws, and so forth. According to Nadilla Yuwanita Dewi, Titik Indarti (2023), Malinowski’s writings explain that culture itself is intrinsically linked to humans and their surrounding society. As it states that:

“…we need a theory of culture, of its processes and products, of its specific determinism, of its relation to basic facts of human psychology and the organic happenings within the human body, and of the dependence of society upon the environment” (Malinowski, 1960).

This statement explains that society requires a theory of culture that clarifies its connection with human psychological facts and natural occurrences within the human body, as well as society’s dependence on its environment. This involves a belief that must exist within individuals toward their community, and how they accept the culture inherited from their ancestors. ‘Minang’ culture in Negeri Sembilan accepted from their ancestors who migrated from Sumatra where it has been assimilated into the local culture.

Minangkabau Culture

As one of the well-known ethnic groups in Nusantara, the word “rantau” (noun) and “merantau” (verb) are directly translated into the word “migration” or “to migrate”. Term of merantau consists of six principal elements in sociology, which (1) parting off with a hometown; (2) in his/her own accord; (3) for a long or short period of time; (4) with the intention to make a living, study, or gain experience; (5) homecoming; and (6) a way to manifest merantau as entrenched culture (Linda Sunarti,  Afriadi, Noor Fatia Lastika Sari, Raisye Soleh Haghia, 2021).  These principal elements allowed for defining what merantau is as a concept of migration in Minangkabau culture.

The arrival of the Minangkabau people from West Sumatra in the Malay Peninsula gave leverage to the local culture, social, and political aspect. All aspects the Minangkabau brought to the Malay world affected Negeri Sembilan the most compared to other states. This custom is found almost exclusively in Negeri  Sembilan, although there are also groups of communities practicing Adat Perpatih in Naning, Melaka, and in enclaves in Lukut, Johor, and in Beranang, Selangor (Shima, Khalil, 2017).

“Better to lose a child than to lose our customs” (biar mati anak, jangan mati adat) is a phrase commonly heard in Minangkabau culture. These expressions reflect deep philosophies that are intricately linked to customary practices and Islam, which has been the cornerstone of their beliefs for centuries. The Adat Perpatih (matrilineal customary law) is still practiced today, although not fully, by the Minangkabau people in both Indonesia and Malaysia.

In addition to clothing styles, language use is also a key marker of Minangkabau identity. The dialect spoken by the Minangkabau differs significantly from that of other ethnic groups in both Malaysia and Indonesia. But, in Negeri Sembilan, the language changes and assimilation into local culture.

The legacy of the Minangkabau people is also recorded in the Malay Annals (Sejarah Melayu), dating back to the 14th century. It mentions that the King of Minangkabau descended from Malay royalty from Bukit Siguntang, named Sang Si Perba, who was the elder brother of Sang Nila Utama, the founder of the Malacca Sultanate. According to Ediwar, Anwar, and Zulayti (2010) in their historical study:

“…And so the news spread to every land that Demang Lebar Daun had received word about three royal brothers from Bukit Si Guntang, descendants of King Alexander the Great (Iskandar Zul-Qarnain). Then came Patih Suatang, King of Minangkabau, to Palembang with his officials and subjects to request one of the princes to be made king in the land of Minangkabau. Demang Lebar Daun granted the request, sending Sang Si Perba along with all his regalia. Patih Suatang then brought him back to Minangkabau and installed him as king…”

(Malay Annals, edited by A. Samad Ahmad, 1986: 21–22)

According to this version of the Malay Annals, Palembang was under the rule of a king known as Demang Lebar Daun. Upon hearing that royal descendants of Iskandar Zulkarnain had arrived at Bukit Siguntang, he went there to meet them and seek blessings from their noble lineage. This news spread far and wide, prompting many other kings to travel there as well. Some came with their families, royal regalia, and court officials, in the hopes of appointing one of the princes as their king.

 Minangkabau in West Sumatra

The Minangkabau people are one of the ethnic groups in Indonesia who incorporate the ‘Minang’ customs and language into their daily lives. The areas where the Minangkabau culture is practiced include West Sumatra, part of Riau, northern Bengkulu, western Jambi, southern North Sumatra, and southwestern Aceh (Shima, Khalil, 2013). The daily activities of the Minangkabau people are like other communities, but they differ when it comes to cultural practices, such as leadership, lineage, and other customs that follow the matrilineal tradition.

Minangkabau are also conventional for their traditional attire, such as the Baju Batabua, which is made from black velvet and worn as a ‘baju kurung’. The term ‘lapang’ refers to openness and the idea of accepting difficulties. Its philosophy is expressed as ‘bapadang lapang baalam leba’ (to be in an open field is to live in a wide space). The ‘baju Kurung’ symbolizes adherence to rules and regulations, reflecting how every action is guided by Minangkabau customs, and the community is expected to act with deliberation rather than impulsiveness. Each Minangkabau area has its own cultural richness, which varies from region to region.

Minangkabau in Negeri Sembilan

Similar to the customs and cultural identity brought from Minangkabau to Negeri Sembilan, the Adat Perpatih continues to be practiced there, resembling the customs of the ethnic groups within the region. Negeri Sembilan is home to twelve tribes (Suku), which are still practiced today, such as Biduanda, Paya Kumbuh, Tanah Datar, Mungkal, Tiga Batu, Tiga Nenek, Batu Belang, Batu Hampar, Seri Lemak, Anak Acheh, and Anak Melaka. Adat Perpatih is unique to Negeri Sembilan, as other states in Malaysia follow ‘Adat Temenggung’. According to R.O. Rekod Winsted, ‘Adat Perpatih’ is considered the law of the Prime Minister, while Adat Temenggung refers to the law of the War Minister and police. Temenggung governed in a more bureaucratic and democratic way (Shima, Khalil, 2013).

Furthermore, Negeri Sembilan is known for its unique system of governance, known as the Undang-undang Luak. Originally, there were nine Luak (territorial divisions), but due to administrative and development changes, the number of Undang Luak now stands at four: Luak Jelebu, Luak Johol, Luak Rembau, and Luak Sungai Ujong.

The presence of Minangkabau culture in Negeri Sembilan from Sumatra can be linked to the historical practice of merantau (migration), which has been a long-standing tradition. The merantau spirit has been ingrained in the male Minangkabau psyche, leading them to seek better livelihoods, education, and broader experiences. The Minangkabau community relies on the Ibu Soko system, which is still practiced today, though it is not as emphasized by the current generation.

The attire worn by the Ibu Soko in Minangkabau culture in Negeri Sembilan differs from the Bundo Kanduang in West Sumatra, even though their roles in society are the same. The Ibu Soko is considered a learned and influential figure in Minangkabau culture in Negeri Sembilan (Alias, Mastura, 2019). When compared to Bundo Kanduang, both share similar roles where “Bundo” refers to “mother,” while “Kanduang” carries the deeper meaning. Similarly, the attire of the ‘Ibu Soko’ is distinct depending on the region, such as Kuala Pilah and Jelebu.

Minangkabau Traditional Attire

According to the Fourth Edition of Dewan Bahasa dan Pustaka, attire refers to clothing that is beautiful and complete with ornaments. Minangkabau attire is closely related to the identity of the Rumah Gadang (Big House), the traditional house of the Minangkabau people (Elda, Yasraf, and Acep, 2015). According to Siti Zainon in 1997, the word “berpakaian” (dressing) comes from Javanese-Sanskrit, meaning to dress perfectly and beautifully when viewed (Alias, Mastura, 2019). The attire of the Minangkabau people is inspired by elements of the Rumah Gadang’s roof, where the head ornaments worn by women resemble the shape of the Rumah Gadang’s roof.

The colors of the Minangkabau people are synonymous with black, yellow, and red. These colors are present in their traditional attire, and they can also be found in the motifs of the Rumah Gadang. Overall, the ethnic Minangkabau attire is divided into two regions: the darek area and the pasisie (coastal) area. The typical Minang attire consists of Baju Berkurung, which is made from velvet fabric embroidered with gold motifs and sewn along the sleeves and bottom of the garment. Both regions share similarities in cut and design, but the key difference lies in the use of head accessories for women (Afifah, 2011).

The pattern in the ‘baju kurung’ consists of several parts of the design (siba), which are two pieces of fabric from the armpit to the bottom of the garment, sewn on both sides (pesak). This garment also features a four-sided to three-sided cut that connects the sleeves, body, and pesak. The siba used represents the symbol of religious beliefs accepted by the community. For Bundo Kanduang, wearing this attire signifies flexibility and the ability to adapt to society while maintaining responsibilities at home. Minsia (decorative details at the end of the garment) serves as a symbol of age and responsibility in the community.

According to Tenas Effendy (2004), Minangkabau attire in Negeri Sembilan symbolizes politeness towards the Adat Perpatih holders, particularly the Ibu Soko, who are described as wearing Baju Kurung to demonstrate humility, avoid arrogance, refrain from dishonesty, and maintain a pleasant disposition. These words illustrate the importance of proper behavior when wearing traditional Malay attire, ensuring the wearer maintains dignity and reputation.

Tengkolok Tanduk

The Tengkolok Tanduk is a headpiece worn by women in the Minangkabau community. The Tengkolok Tanduk is one of the main symbols of identity for the Minangkabau people, whether in West Sumatra or Negeri Sembilan. This similarity is due to the migration of Minangkabau people to Malaya in the 15th century. Minangkabau women in West Sumatra wear this headpiece as a complement to their traditional attire, specifically as part of the ‘Bundo Kanduang’ costume. The Tengkolok Tanduk is also worn by women in Negeri Sembilan and is used in ceremonial events there. However, in West Sumatra, this headpiece is known as Tingkuluak Tanduak.

Tingkuluak Tanduak

The Tingkuluak Tanduak is the term used by Minangkabau people in Indonesia for the Tengkolok Tanduk. This headpiece worn by Minangkabau women resembles the horns of a buffalo, which is a symbol of their identity. The Tingkuluak Tanduak is made from a long scarf and tied around the head using a special knotting technique. This knot creates two sharp peaks on the right and left, resembling buffalo horns.

This type of headpiece is commonly worn by Minangkabau women for traditional dance performances, ceremonial events, to welcome guests, and by brides during wedding ceremonies. As part of a traditional Minangkabau attire, the Tingkuluak Tanduak in Sumatra is also divided into two parts: the ‘tengkuk’ (neck area) and the ‘hiasan sunting’ (head accessory area). Comparison of Minangkabau Traditional Attire in Indonesia and Malaysia

Malay traditional clothing is often seen as unique and beautiful due to the craftsmanship of the community creating delicate and functional garments. In addition to the daily wear used by Malay and Minangkabau women to cover the body and observe modesty, Minangkabau traditional attire has gained wide attention due to the uniqueness of the ensemble worn by women of this ethnic group.

Minangkabau traditional attire includes all elements of dress worn by an individual to show the cultural identity of a community (Jandra, 2009). The role of the chief in this traditional dress is depicted through their special attire and it represents the identity of power held by Minangkabau women. Minangkabau traditional dress is described in the proverb below:

Bundo kanduang limpapeh rumah nan gadang Rumah gadang sambilan ruang Salayang kudo balari, sapakian budak maimbau Sahari Kubin malayang Ambun puruak pagangan kunci Pusek jalo kumpulan ikan
Samarak dalam kampuang hisan dalam nagari…

Table 1 shows the difference between Ibu Soko Costume and Bundo Kanduang Costume.

No	Indonesian Minangkabau	Malaysian Minangkabau
1	Nan Gadang / Bundo Kanduang House Limpopeh Maternity	Mother Soko’s delivery
	BUNDO KANDUANG ATTIRE Pinterest website resource	IBU SOKO ATTIRE Source of the Malaysian Department of Culture and Arts website
	– Symbol – The important role of the mother in the family	– Symbols – Represents a key role in the Adat Perpatih customs
	–Lambak– Woven songket or knotted fabric. The sarong is folded at the front, back, or sides (depending on the region). It includes ‘balapak cloth’ with gold thread embroidery and Pandai Sikat weaving, symbolizing wisdom—Bundo Kanduang must know how to place every piece in its rightful place.	– Woven songket bunga tabur (scattered floral motifs). The side cloth is tied around the waist with a flowing wave knot. Additionally, Ibu Soko wears the Kain Dagang Luar as a style complement.
	Tingkuluak– A head cover resembling the Rumah Gadang roof or buffalo horns, symbolizing the role of Minangkabau women as central to family structure.	–Telepok in Kuala Pilah. –Tengkolok in other areas. The flat center of the telepok represents deliberation, and the curves to the left and right mean “as water is shaped by its container, words are shaped by consensus.”
	-Minsie – Gold embroidery at the neckline and sleeves symbolizes that Minang women must obey traditional prohibitions.	– Not owned or embroidered with any details
	–Salempang – Worn over the shoulder by married women as a finishing touch, symbolizing vigilance and mindfulness in all situations.	–Sash – Worn on the shoulder to symbolize authority and responsibility for burdens, rights, and duties to be fulfilled.

The table above shows the distinction between the two garments is most evident in the adornment of the head, where variations in design and symbolism reflect regional cultural adaptations. The basic techniques of baju kurung and sarong are the same between these two attires (Budo Kanduang and Ibu Soko), however, what differentiates them is the style of other accessories. Every piece of equipment and accessories worn symbolizes the woman’s role in leading her community.

Table 2 shows the technical drawing between Ibu Soko Costume and Bundo Kanduang Costume.

No	Indonesian Minangkabau	Malaysian Minangkabau
1
	Pattern of baju kurung Bundo Kanduang	Pattern of baju kurung Ibu Soko
	Pattern of kain lipat batik	Pattern of kain lipat batik
	Resources Pinterest website	Resources Tik Tok website https://www.tiktok.com/discover/telepok
	Tingkuluak Bundo Kanduang	–Telepok Ibu Soko

Data Collection

Data collection remained conducted in both Minangkabau regions to capture cultural similarities resulting from centuries of migration regions in the Malay Archipelago, which share cultural similarities because of the merantau (migration) tradition of the Minangkabau people over centuries. The shared cultural understanding has led to similarities in culture, dialect, and identity between the two communities. A qualitative approach was used, where comparisons were made through analysis of clothing design, sarong tying styles, and headgear tying techniques, as they represent the core identity of the Bundo Kanduang and Ibu Soko attire.

This study also considers relevant academic literature to support its analysis and contextual understanding, particularly writings related to the roles and symbolism of Bundo Kanduang and Ibu Soko within Minangkabau society, highlighting their influential positions. The traditional attire of both figures serves as a cultural anchor within their communities, as both figures are seen as the pillars of the family and the broader social group. Analysis shows that although the design styles of the two costumes differ between regions, they serve the same function. This is because when a culture or belief is brought into a new place, it is adopted and assimilated into the local culture, influenced by its new environment.

CONCLUSION

In conclusion, the analysis of both traditional attires reveals shared foundational design elements rooted in a common cultural origin, which were subsequently adapted and developed to reflect the distinct local traditions of Sumatra and Negeri Sembilan. This cultural connection has led to shared language, art, clothing, and lifestyles between the two communities Sumatra and Negeri Sembilan. The original purpose of the Bundo Kanduang and Ibu Soko attire still reflects their roles as cultural custodians, responsible for preserving the Minangkabau identity and values in the decisions made by their respective communities.

Although both regions practice the same Adat Perpatih, there are some differences between West Sumatra and Negeri Sembilan—for example, the styling of the women leaders’ headgear and the dialects used. These differences stem from the migration of the Minangkabau people from West Sumatra to Negeri Sembilan, which led the Malays of Negeri Sembilan to adopt Adat Perpatih and integrate it with their local culture.

As cultural evolution occurred in Negeri Sembilan, Minangkabau traditions from West Sumatra were assimilated into local culture as well. This can be seen in the choice of textiles and detailing in both traditional costumes. Additionally, the usage and styling of the tengkolok headgear differ slightly in terms of tying techniques and the horn-like shapes, reflecting the unique identities of the two Minangkabau regions in Indonesia and Malaysia.

REFFERENCES

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