THE BENEFIT IN TEACHING LANGUAGE
LITERATURE AND CULTURE
(Result of the Research in Character Building of Indonesian
Through Ethnic Poetics, 2012-2013)
Dr. Sudarmin Harun, M.Hum.
University of Hasanuddin
Makassar-Indonesia
Abstract
Education of language, culture, and literature is philosophically multi-discipline
that could develop the basic ability of pupils, students, teachers, and lecturers
comprise perceptual, intellectual, emotional, social, creativity, and ethics. The
presence of language, culture, and literature will continually bring about some
changes. Globalization and sophisticated information technology continually
flow in all aspects of human life. Awareness and social control mainly derive
from the society as the owner of language, literature, and culture. They are
expected to have deep and powerful understanding about cultural values existing
in each ethnic group in Indonesia. The awareness, mainly self-awareness, could
create the character building of the nation like magetteng ‘consistent’, warani
‘brave’, malempu ‘honest’ never lie/corrupt, macca ‘smart/clever’, mapaccing
‘clean life’, maperru ‘thoughtful’, malabo ‘generous’, pattulung ‘helpful and
philanthropy’, sipakatau, sipakalebbi, and sipakaraja ‘mutual honor, respect, and
values’ (Harun, 2012: 242) This research aims to find out: (a) the meaning of
literature which has philosophical, religious, and social values in Buginese
traditional ethnic poetics and (b) the meaning of cultural symbols which contains
in Buginese Ethnic Poetics (BEP). This research was based on field research as
well as text analysis in terms of Semiotic Symbols. The managing of
documentation and revitalization of language, literature, and culture has been
done, but it is still not maximal yet. This is done in order to avoid extinction.
Therefore, the teachers and lecturers now must do research to reveal the meaning
of them and to teach them to their students about ‘ancestral local genius/local
wisdom’ of each ethnic group in Indonesia. The best solution is to teach them
through early education. By this way, the nation generations will know and
understand their language, literature, and cultural message. Therefore, it is hoped,
it could accelerate the character building, dignity, and civilization of the nation
towards globalization.
Keywords: Teaching language, literature, culture, and ethnic poetics.
Abstrak
Pendidikan bahasa, budaya, dan sastra pada hakekatnya bersifat multi disiplin
yang dapat mengembangkan kemampuan dasar siswa, mahasiswa, guru, dan
dosen meliputi perseptual, intelektual, emosional, sosial, kreativitas, dan etika,
Aktualisasi dan keberadaan bahasa, budaya, dan sastra akan terus mengalami
perubahan dan kesinambungan. Gelobalisasih dan kemuttahiran teknologi
informasi yang mengalir deras terus menerus di dalam sendi kehidupan manusia.
Kesadaran dan kontrol sosial utamanya dari masyarakat pemilik bahasa, sastra,
1
dan budaya, diharapkan memiliki pemahaman yang mendalam dan kuat
mengenai aktualisasi, keberadaan nilai-nilai budaya yang ada pada setiap suku di
Indonesia. Kesedaran tersebut dapat menghasilkan sikap magetteng ‘teguh dalam
pendirian’, warani ‘berani’, malempu ‘jujur’, macca ‘pintar’, mapaccing ‘bersih’,
maperru ‘saling merasakan’, malabo ‘suka memberi’, pattulung ‘suka
menolong’, sipakatau, sipakalebbi, and sipakaraja ‘saling menghargai dan
menghormati’ (Harun, 2012: 242). Penelitian ini bertujuan menemukan: (a)
makna sastra yang memilki nilai-nilai filosofi, religius, social/kemenusiaan yang
terdapat dalam puisi-puisi tradisional suku bugis; (b) makna simbol-simbol
budaya yang terdapat dalam puisi-puisi tradisional suku bugis. Upaya
dokumentasi dan revitalisasi bahasa, budaya, dan sastra daerah sudah dilakukan
namun belum maksimal, hal ini dilakukan untuk menghindari terjadinya
kepunahan. Dengan demikian guru, dan dosen harus secara dini meneliti,
mengungkap, dan mengajarkan makna yang terkandung di dalam ethnic poetic
dan menyampaikan pesan leluhur masing-masing etnik di Indonesia. Solusi
terbaik adalah melalui jalur pendidikan lebih awal. Dengan jaluru inilah,
generasi-generasi bangsa akan mengetahui, memahami budayanya. Dengan
demikian dapat mempercepat pembentukan karakter dan jati diri bangsa yang
berbudaya, bermartabat, dan berperadaban memasuki era globalisasih.
Kata kunci: Pengajaran bahasa, sastra, budaya, dan ethnic poetics.
I. INTRODUCTION
Literary work has an aesthetic and beauty side, because of its harmonization,
balance, and it can focus on the aspect of philosophy, culture, social life and religion.
Literary work can make the readers realize the truth of life, as we know that literary
work includes reflection of our life. Some kind of literary workssuch as poem, novel,
short story, and drama could reflect the life of community in a certain time. Literary
works cannot be separated from human life. Literary works also give much
information, such as history, culture, social condition, and politic.
The literary work, both prose and poetry that might include the Buginese
traditional poetics have been known by society, and their existence as literary works
have a high cultural value. Moreover, the Buginese traditional poetics have also some
cultural symbols that have a function as moral teaching. It is worth studying and
analyzing the meanings of symbols that might appear in the literary work. If the
Buginese ignores these Buginese literary works, it is possible these local literary works
are in danger of extinction.
The functions of Buginese poetics or traditional songs are included in medium
of communication, entertainment, and social control, while the meanings are included
in the symbol of honesty, braveness, and cleverness. All of these include in prose and
poetry or in Buginese literary work that are called Buginese Ethnic Poetics (BEP).
In this research, the researcher elaborates and reveals the cultural symbols,
cultural values, and the context that appear in BEP. These objects of research are based
upon the symbols used by the addresser or author to imply his/her ideas, intentions, and
messages to the audience. Traditional poetics as genre of literary work have Galigo
pattern and Non-Galigo pattern.
Culture is a distinctly human capacity for adapting to circumstances and
transmitting this coping skill and knowledge to subsequent generations. Culture gives
people a sense of who they are, of whom they belong to, of how they behave and what
they should be doing. Culture affects behavior, morale and productivity at work
2
including values and patterns that influence people or institute. Culture gives people a
sense of identity, whether in regional and national levels, especially in terms of human
behavior and values to be encouraged. A wide knowledge of culture provides insight in
which, for instance, the appropriate literary analysis can be applied in tune with local
character, codes, ideology and standards.
According to Salim (1984: 4-7), there are two cultural massages that are always
implied in BEP namely: Lontaraq of local wisdom (Lontaraq Pappaseng) and Lontarq
of advice (Lontaraq Pangaja). Lontarq Pappaseng is the collection of instructions or
messages of Buginese ancestor that are written and bequeathed hereditary to his sons
and daughters or grandchildren. This Lontaraq consists of the ways of doing good
governance and family relationship, while Lontaraq Pangaja is the collection of ways
of life or advices that are conveyed by parents to their sons and daughters. This
Lontaraq only consists of the ways of life in family relationship. The functions or
meanings of the Buginese traditional poetics are for personal and public entertainments
that have significant cultural values and a very important role in the life of the
Buginese communities.
According to Rahim (1985: ix) Buginese cultural values consist of siri
‘dignity’, awaraningeng ‘braveness’, agettengeng ‘consistency’, alempureng ‘honesty’,
and keimanan ‘faithfulness’. Therefore, in the aspect of cultural values we can find
philosophical, religious, social/humanity, and other values.
The experts of culture are aware how important of the meaning and role of
ancestral cultural values as a framework in the life of society itself. Koentjaraningrat
(1974: 25) remarks that cultural value is in the first level of ideal culture or customs.
Cultural value is the most abstract layer and broad its point of view where in these
levels the ideas that conceptualize more things in the society life. He also remarks that
based on cultural value system consisting of the concepts that exist in thought in a big
part of societies about things that they consider very precious in life. Therefore, a
cultural value system usually functions as the highest guidance for man behavior. The
system of man behavior structure, its level is more concrete like specific rule, customs
and traditions, customary law, and norms all of them are based on the guide of cultural
value system.
Linton (1984: 215) considers that what we need in modern world at present is a
series of ideals and values in which still exists and still followed by all society
members. It shows that how important the meaning and role of cultural values in the
people life, either in modern society that has been prosperous or in simplest life of
society.
Based on the above description, it can be inferred that the local wisdom
(Pappaseng) is a cultural term of Buginese oriented to a moral message or cultural
values that uttered by the ancestor of Buginese. It has become a convention, guiding
principle, and directive of daily life as a civilized ethnic. We must hold it firmly and
implement it in our daily life. “Paseng”, is a noun while “Pappaseng” is a verbal noun
that has an active functions in meaning, in Indonesian “Kearifan Lokal”, is a word,
term or diction in Buginese that contains moral message, cultural values, customs and
traditions, norms, adat law, religion beliefs, conveyed by Buginese ancestor. The aim is
to guide someone not to do negative acts or deeds.
The word “wisdom” is derived from the word “wise”, an adjective that means
having or relating from knowledge and intelligence (Carver, 1985: 454). Thus, wisdom
means having good quality of being resulting from knowledge and intelligence.
Therefore, the local wisdom (local genius) in English is equivalent to Indonesian
phrase “Kearifan Lokal” synonymous in Buginese “Pappaseng”. Local genius is the
first times introduced by Quaritch Wales, he is an anthropology of England.
3
The term “Local Wisdom”–“Kearifan Lokal”–“Pappaseng” has a significant
meaning and become a cultural word being familiar at present. Many expressions and
behaviors contain glorious value, full of wisdom, appearing in society as an effort in
responding the problems of life that are happening or will occur in society. This reality
appears on the surface caused by no global solution that can help to settle all social
problems occurred around their residence. General premises at present become general
standard in solving all social problems appearance are not able to solve the problems
that appear in local society. The people occupying a certain residence are able to
resolve their problems with full of wisdom without having to use a general standard
any more.
On the other sides, the local community resolved the problem of life with their
owned wisdom. The appearance of local wisdom derived from their experiences that
had happened and then become a solution to the social problem, they are facing. Their
ancestor has bequeathed his local wisdom (local genius) to his grandchild or to the next
generations become more important for the existence of their local genius. That local
genius functions as a solution to the problems appearing around them. Therefore, in
some aspects, there may possibly appear different kinds of local genius in community
although in the same object of problem such as “corruption” and “riot –tawuran”.
Sandarupa (2011) conveys that the main theme for each culture in Indonesia is
the local genius, a cognitive principle believable and receivable by their followers and
considered right and valid. That culture is pappaseng in Buginese, Ma’daratakkun in
Torajanese, Budya Alus in Java, wisdom that can be used as a preventive action against
corruption and riot ‘tawuran’ in Indonesia.
The first problem is BEP have many cultural symbols that have literal,
idiomatic, metaphorical and conventional meanings that are very difficult to understand
by all generations. The second one is Buginese language still has no trilingual
dictionary (A Buginese-Indonesian-English Dictionary) or bilingual dictionary (A
Buginese-English Dictionary) has been written and printed talking about the cultural
symbols which symbolize the cultural values implied in BEP. The third one is that by
the use of cultural symbols the addressers insert and imply the local genius or message
of Buginese ancestor in old Buginese version in BEP.
Example: Buginese cultural symbols that have literal, idiomatic, metaphorical and
conventional meanings.
Ground
Representamen
golla nawale
paria
golla
palm sugar
‘goodness’
Representamen
˃˂
Refers to
˃˂ Repaid with
= Causes to
4
paria
bitter guard
‘badness’
Object
=
Goodness
repaid with
badness
II. Conceptual Framework
Things
Cultural
Symbols
Plants
Terrestrials
Philosophy
Ethnic
Poetics
Values
Religion
Buginese Socio
Cultural Values
Social/Humanity
Galigo
Pattern
(Form)
Non-Galigo
Parallelism
III. FINDINGS AND DISCUSSION
Semiotics is the science of sign; the term comes from the Greek word “semion”
that means “sign”. Sign is found anywhere: word is the sign moreover signal movement
like traffic light, flag, etc. The structure of literary work, film, building, and bird’s
sounds are also sign. Everything can be a sign. A philosopher of America, Charles
Sanders Peirce (1839 – 1914) states that we can only think with medium of sign, of
course, without sign we cannot communicate (Sudjiman, 1992: 1- 3).
According to Zoest (1980: 5) semiotics is a study about sign and everything
relates to it: the way to function, its relation to the other signs, addresser, and relation to
the other signs, the way cooperates in doing its function that is the work of syntax
semiotics. If the study about this sign is necessitate the interconnected between signs
and addresser and addressee, that is the work of pragmatics semiotics, and if this study
of sign is more prominent or more emphasized the relation of signs with its referent and
with the result of its interpretation, that is the work of semantics semiotics.
The researcher analyzes the main Buginese cultural symbols, applying Peirce’s
literary semiotic approach in the theory of symbols (signs). According to Peirce (1960),
a sign or representamen is something, which stands to somebody for something in
some respect or capacity. It addresses somebody, that is, creates in the main of that
5
person an equivalent sign, or perhaps a more developed sign. The sign, which it creates,
Peirce calls the interpretant of the first sign. The sign stands for something, its object.
It stands for that object not in all respects, but in reference to a short idea, which Peirce
has sometimes called the ground of the representamen. Peirce (1960), Haley (1988),
and Sandarupa (2012), representamen has trichotomy: symbol, index, and icon. In
Peirce’s semiotic of symbol, there are representamen or signs, ground of
representamen (idea and concept), and object. Representamen does not run straightly to
the object but it runs through the ground of representamen (idea and concept), and then
runs to the object. Between representamen and object, there are icon, index, and
symbol. The following chosen signs or representamens are the signs, which
characterize Buginese character building and ethos of work through their culture. Let us
look at the figure:
Notes: 1. SIGNS (Representamen)
2. Ground of Representamen (Idea and Concept)
3. Object
4. Idea/ground of similarity is icon.
5. Idea/ground of causal or coexistent is index.
6. Idea/ground of convention or rule of agreement is symbol.
1. SIGNS
(Representamen)
4. Icon
5. Index
6. Symbol
3. Object
2. Ground of Representamen
(Idea and Concept)
Figure 1: Peirce’s Literary Semiotic (Symbol)
Signatum 1 Unganna Panasae ‘jackfruit Flower’ (tunas nangka -lempu) ‘honest’
Datum 1
(1) duami kualla sappo
# dua + mi + ku + alla +
sappo #
two
def
p1sg
take
fence
only two I take as my fence
(2) ungana panasae
# uŋa
+
na +
Flower
pos
honesty and
(3) belo kanukue
# belo
+
kanuku
adornment
nail
cleanness
panasa
+
jackfruit
+
e#
def
6
e#
def
Metaphor/Symbol
tunasnangka
jackfruit flower
2.
1.
icon = ungannapanasa
index = kejujuran
symbol = lempu
unganna panasae
jackfruit flower
lempu
honesty
3.
Figure 2: Signatum 1 Unganna Panasae ‘jackfruit flower’
Description:
First box contains ungannapanasae ‘jackfruit flower’. Second box contains
tunasnangka ‘jackfruit flower’. Third box contains lempu ‘honesty’. This symbol has
an icon ‘ungannapanasae’, an index ‘kejujuran’, and a symbol ‘lempu’.
“Unganna panasae” is a cultural symbol of Indonesian Buginese that has a
significant meaning of life of Buginese in their daily works. “Unganna panasae” or
“tunas nangka” is a sign or a representamen. Its ground of representamen (idea or
concept) is a metaphor of “lempu”. It is based on its physical appearance that straightly
appears on the trunk of jackfruit. It is always straight up or down. “Unganna panasae”
is an aesthetical form that means “be honest”. The ground functions refer to the object,
which creates the best attitude and the character building of Buginese as a powerful life
principle and philosophy of life of Buginese. He/she is a true-person if he/she is “jujur”
‘trustworthy’. Its icon (similarity) is “malempu” ‘be honest’. “Malempu” is the physical
performance of “unganna panasae”. It is always in straight form. Its index (causal) is
“kejujuran” ‘honesty’. “Kejujuran” is caused by “lempu”. Its symbol (convention or
rule of agreement) is “lempu” ‘honest’. Therefore, “unganna panasae” as Buginese
cultural symbol is a metaphor or symbol of “lempu” ‘honesty’. In philosophy of life of
Buginese, “Lempu” is the object of the ground of representamen as the concept of
“unganna panasae” as an aesthetical form of an advice and metaphor/symbol of
“lempu”.
Signatum 2: Belo Kanukue (Pacci) ‘Nail Adornment’ (hidup bersih) ‘cleans life’
Datum 2
(3) belo kanukue
# belo
+
kanuku
adornment
nail
cleanness
+
e#
def
7
Metaphor/Symbol
pacci
LAWSANIA ALBA
2.
1.
icon = pacci
index = makanja’ati
Lsymbol = mapaccing
belokanukue
nail adornment
A
mapaccingW
cleannessS
3.
A
N
I
Figure 3: Signatum 2 Belo Kanukue (pacci)
A ‘nail adornment’
Description:
A
First box contains belokanukue ‘nail adornment’. Second
box contains pacci
L
‘LAWSANIA ALBA’. Third box contains mapaccing ‘cleanness’.
This symbol has an
B
icon ‘pacci’, an index maknja’ati ‘good heart’, and a symbol ‘mapaccing’.
A
“Belo kanukue” is a cultural symbol of Indonesian Buginese that has a
significant meaning of life of Buginese in undertaking their daily works. “Belo
kanukue” or “pacci” is a representamen. Its ground of representamen (idea or concept)
is a metaphor of “hidupbersih” ‘clean life’. It is based on “pacci” sacred function;
Buginese believes that this cultural symbol can create the effects of cleanness, either
physically or mentally (sennung-sennungeng ‘symbol of safety’). The ground functions
refer to the object, which creates the best attitude and the character building of
Buginese as a powerful life principle and philosophy of life of Buginese. He/she is a
true-person if he/she is “mapaccing or hidup bersih”. Its icon (similarity) is “paccing”.
Its index (causal) is “good attitude, baikhati, tidakkorup, iri or dengki” ‘no grafts’,
‘jealous or slander’. It is caused by “hati bersih or hidup bersih” Its symbol
(convention or rule of agreement) is “hidup bersih” ‘clean life’. Therefore, “belo
kanukue” as Buginese cultural symbol is a metaphor or symbol of “paccing”
‘cleanness’. In philosophy of life of Buginese, “Hidup bersih” is the object of the
ground of representamen as the concept of aesthetical form of an advice and a
metaphor/symbol of “hidup bersih” ‘clean life’.
Signatum 3: Mabbulo Sibatang (be a bar of bamboo) ‘Unity’ (massiddi -bersatu) togetherness
Datum 3
(12) tomabbulo sibatang
# to
+
ma
+ bulo + si
+
bataŋ #
p1pl
pref
bamboo
res
bar
let us unite
(13) taro ada temmaluka
# taro
+ ada
+
put
utterance
tə
neg
+
maluka #
loose
8
never disavow the promise
Metaphor/Symbol
massidi
unite
2.
1.
icon = bulosibatang
index = tudangsipulung
symbol = assiddiang
mabbulosibatang
unity
assidiang
unity
3.
Figure 4: Signatum 3 Mabbulo Sibatang ‘Unity’
Description:
First box contains mabbulosibatang ‘unity’. Second box contains massidi ‘unite’. Third
box contains assidiang ‘unity’. This symbol has an icon bulosibatang ‘a bar of bamboo’, an index
tudangsipulung ‘sitting together’, and a symbol ‘assidiang unity’.
“Mabbulosibatang” is a cultural symbol of Buginese that has a significant meaning of
life of Buginese in their daily life. “Mabbulosibatang” ‘be a bar of bamboo (unite)’is a
representamen. Its ground of representamen (idea or concept) is a metaphor of “assidiang”
‘unity’. This is based on the physical appearance of bamboo, in this case “be a bar of bamboo”
that means “unite”. The ground functions refer to the object, which creates the best attitude and
the character building of Buginese as a powerful life principle and philosophy of life of Buginese.
He/she is a true-people if he/she always “massiddi” ‘unite’. Its icon (similarity) is “assidiang”
‘unity’. Its index (causal) is “tudang sipulung or kerjasama” ‘unite or cooperate’. It is caused by
the attitude of unity. Its symbol (convention or rule of agreement) is “massiddi” ‘unite’.
Therefore, “mabbulosibatang” as Buginese cultural symbol is a metaphor or symbol of
“massiddi” ‘unite’. In philosophy of life of Buginese, “Massiddi” is the object of the ground of
representamen as the concept of aesthetical life (guidance) and metaphor/symbol of
“mabbulosibatang” ‘unite’.
Signatum 4: Sulo ‘Torch’ (Obor –paddisengeng) ‘knowledge’
Datum 4
(3) paddisengeng mitu matti
knowledge
only later
only the knowledge later
(4) sulo mattappa rialewe
# sulo
+ ma
+
tappaa + ri + ale
torch
pref
shine
prep
body
can be a torch that shines out of our body
9
+
we #
p1pl pos
Metaphor/Symbol
obor
torch
2.
1.
sulo
torch
Icon = sulo
Index = cahaya
Symbol = paddisengeng
paddisengeng
knowledge
3.
Figure 5: Signatum 4 Sulo ‘Torch’
Description:
First box contains sulo ‘torch’. Second box contains obor ‘torch’. Third box contains
paddisengeng ‘knowledge’. This symbol has an icon bulosibatang ‘a bar of bamboo’, an index
tudangsipulung ‘sitting together’, and a symbol paddisengeng ‘knowledge’.
“Sulo” is a cultural symbol of Buginese that has a significant meaning of life of Buginese in their
daily works. “Sulo” or “obor” ‘torch’is a representamen. Its ground of representamen (idea or
concept) is a metaphor of “paddisengengorilmu” ‘knowledge’. It is based on the physical
appearance of “sulo” ‘torch’ that functions to shine everything around it. Something that could
shine out of the mind or body of someone is his/her knowledge or goodness. The ground
functions refer to the object, which creates the best quality and the character building of Buginese
as a powerful life principle and philosophy of life of Buginese. He/she is a true-person if he/she
becomes “macca” ‘smart’. Smart people could illuminate the people around them. Its icon
(similarity) is “pelita” ‘lamp. Lamp, torch, and lantern’ function to illuminate everything around
them in the darkness. Its index (causal) is “cahaya terang” ‘clear gleam’. The appearance of clear
gleam caused by the lamp is on. Its symbol (convention or rule of agreement) is “paddisengeng”
‘knowledge’. Therefore, “sulo” as Buginese cultural symbol is a metaphor or symbol of
“paddisengeng-macca” ‘knowledge-smart’. In philosophy of life of Buginese, it is called “tau
acca” ‘clever man’. Knowledge is a torch that shines out of someone’s body and mind.
“Paddisengeng” ‘knowledge’ is the object of the ground of sign or representamenas the concept
of “qualitas diri or tau macca” ‘self-quality or smart’.
Signatum 5: Bokong ‘Provisions’ (bekal -amal) ‘charity’
Datum 5
Bokong Temmawari
Unspoiled Provisions
(1) passaniasani bokotta’
# passaniasa + ni
+
prepare
imp
prepare your provisions!
bokoŋ
+
provisions
10
ta #
p2pos hon
Metaphor/Symbol
bekal
provisions
2.
1.
icon = bokong
index = ibadah
symbol = amala’
bokong
provisions
3.
Amala’
charity
Figure 6: Signatum 5 Bokong ‘provision’
Description:
First box contains bokong ‘provisions’. Second box contains bekal ‘provisions’. Third
box contains amala’ ‘charity’. This symbol has an icon bokong ‘provision’, an index ibadah
‘religious service’, and a symbol ‘amala’ ‘charity’.
“Bokong” is a cultural symbol of Buginese that has a significant meaning of life of Buginese in
their daily works. “Bokong” or “provision” is a representamen. Its ground of representamen
(idea or concept) is a metaphor of “amal” –charity. It is based on the physical appearance of
“bokong” that contains full of rice in it. It is analogized with preparations or provisions of life in
the world and the next world. The ground functions refer to the object, which creates the best
attitude and the character building of Buginese as a powerful life principle and philosophy of life
of Buginese. He/she is a true-person if he/she is philanthropy “suka-membri or malabo” ‘social or
generous’. Its icon (similarity) is “bekal” ‘provisions’. Its index (causal) is “beribadah,
pogaudeceng, suka memberi, and suka menyumbang” ‘helpful and philanthropy’. These cause
someone to get many provisions or charities. Its symbol (convention or rule of agreement) is
“amal” ‘charity’. Therefore, “Bokong temmawari” as Buginese cultural symbol is a metaphor or
symbol of “amal” ‘charity’. In philosophy of life of Buginese social and helpful are the
characteristics of faithful person. “Amala’” ‘provision’ is the object of the ground of
representamen as the idea or concept of aesthetical warning and metaphor/symbol of “bekal
hidup dunia-akhirat” ‘provisions of life’ in the world and the next world.
Signatum 6 Golla ‘Palm Sugar’ (macenning –kebaikan) ‘goodness/happiness’
Datum 6
Golla Nawale’ Paria
Palm Sugar Retaliates with Bitter Gourd
Repay Good with Evil
11
Metaphor/Symbol
macenning
sweet
2.
1.
icon = golla
index = macenning
symbol = kebaikan
golla
palm sugar
3.
kebaikan
goodness/happiness
Figure 7: Signatum 6 Golla ‘Palm Sugar’
Description:
First box contains golla ‘palm sugar’. Second box contains macenning ‘sweet’. Third
box contains kebaikan ‘goodness’. This symbol has an icon golla ‘palm sugar’, an index
macenning ‘sweet’, and a symbol kebaikan ‘goodness/happiness’.
“Golla” is a cultural symbol of Buginese that has a significant meaning of life of Buginese in
their daily life. “Golla” or “cenning” is a representamen. Its ground of representamen (idea or
concept) is a metaphor of “kebaikan” ‘goodness’, the word “golla” ‘palm sugar’ connotes to
goodness, this is based on the taste of palm sugar, and sweet taste for Buginese is always
considered a good thing. The ground functions refer to the object, which creates the best attitude
and the character building of Buginese as a powerful life principle and philosophy of life of
Buginese. He/she is a true-person if he/she is “maperru” ‘thoughtful’. Its icon (similarity) is
“gollacella” ‘palm sugar’. Its index (causal) is “deceng” ‘good attitude or behavior’. This is
caused by goodness that owned by someone. Its symbol (convention or rule of agreement) is
“kebaikan” ‘goodness’. Therefore, in philosophy of life of Buginese, “golla” as Buginese cultural
symbol is a metaphor or symbol of “kebaikan” ‘goodness, welfare, and pleasure’. “Kebaikan” is
the object of the ground of representamen as the concept of “berbuat baik” ‘do goodness’, not on
the reverse “berbuat jahat” ‘do evil’.
Signatum 7 Ulaweng ‘Gold’ (Ulawengngi Mammekkoe) ‘be silent is the best’
Datum 7
(9) ulawengngi mammekkoe
# ulawəŋ
+
i
+ ma +
gold
dem
pref
be silent is the best
(10) salakai mette’e
# salaka + i +
silver
dem
to talk is better
(11) mettekki’ nasitinaja
# mətte +
ki
mətte
talk
+
na
məkko
silent
+
+
e#
def
+
12
sitinaja #
e#
def
talk
p2pl hon
talk only properly!
(12) tongeppi naripuada
# toŋəp +
i +
true
dem
say only the true!
pref
naripu
pref
properly
+
ada #
say
Metaphor/Symbol
mammekko
be silent
2.
1.
icon = ulaweng
index = mammekko
symbol – sifa’makanja’
ulaweng
gold
3.
sifa’makanja’
good attitude
Figure 8: Signatum 7 Ulaweng ‘Gold’
Description:
First box contains ulaweng ‘gold’. Second box contains mammekko ‘be silent’. Third
box contains sifa’ makanja’ ‘good attitude’. This symbol has an icon ulaweng ‘gold’, an index
mammekko ‘be silent’, and a symbol sifa’makanjja’ ’good attitude’.
“Ulaweng” is a cultural symbol of Buginese that has a significant meaning of life of
Buginese in conveying the true utterance. “Ulaweng” is a sign or representamen. Its ground of
representamen (idea or concept) is a metaphor of “ulawengngimammekoe”–be silent is the best. It
is based on the value of gold. Gold is finery or thing that has high quality in the life of people, so,
“mammekkoe” is an analogy of “ulaweng”. The ground functions refer to the object, which
creates the best attitude and the character building of Buginese as a powerful life principle and
philosophy of life of Buginese. He/she is a true-person if he/she is “malempu or jujur”. Its icon
(similarity) is “kebenaran” ‘rightness’. “Kebenaran” is something that has high value and quality
in society. Its index (causal) is “jujur” ‘honest’. “Kejujuran” is caused by the rightness and
reflected by the true remarks and deeds of someone. Its symbol (convention or rule of agreement)
is “kejujuran” ‘honesty’. Therefore, “ulaweng” as Buginese cultural symbol, is a metaphor or
symbol of “sifa makanja” ‘good behavior’ and ‘good attitude’. In philosophy of life of Buginese,
if someone does not know the rightness of something, it is better to be quiet “ulawengngi
mamekkoe” as the object of the ground of representamen as the concept and idea of ethnic poetics
(symbol), “say the true and never lie”.
Signatum 8: Salaka ‘Silver’ (Salakai Mette’e) ‘to talk is better’
Datum 8
(10) salakai mette’e
# salaka + i + mətte + e #
silver
dem
talk
def
13
to talk is better
(11) mettekki’ nasitinaja
# mətte +
ki
+
talk
p2pl hon
talk only properly!
(12) tongeppi naripuada
# toŋəp +
i +
true
dem
say only the true!
na +
pref
naripu
pref
+
sitinaja #
properly
ada #
say
Metaphor/Symbol
mette
reply
2.
1.
icon = salaka
index = mette
symbol = adatongeng
salaka
silver
adatongeng
true utterance
3.
Figure 9: Signatum 8 Salaka ‘Silver’
Description:
First box contains salaka ‘silver’. Second box contains mette ‘reply’. Third box
contains adatongeng ‘true utterance’. This symbol has an icon salaka ‘silver’, an index mette
‘talk’, and a symbol ‘adatongeng’ true utterance’.
“Salaka” is a cultural symbol of Buginese that has a significant meaning of life of
Buginese in conveying the true utterance. “Salaka” is a sign or representamen. Its ground of
representamen (idea or concept) is a metaphor of “salakai mette’e”–talk only properly and say
only the truth. It is based on the value of silver. Silver is finery or thing that has higher quality
than others do in the life of people, so, “mette’e” is an analogy of “salaka”. The ground functions
refer to the object, which creates better attitude than others and the character building of Buginese
as a powerful life principle and philosophy of life of Buginese. He/she is a true-person if he/she
said, “the truth is true and the false is false. Its icon (similarity) is “kebenaran” ‘rightness’.
“Kebenaran” is something that has higher value and quality than others do in society. Its index
(causal) is “jujur demi kebenaran” ‘conveying the rightness’. “Kejujuran” is caused by the
rightness and reflected by the true remarks and deeds of someone. Its symbol (convention or rule
of agreement) is “kejujuran” ‘honesty’. Therefore, “salakaimette’e” ‘to talk is better if we know
the truth of something’, “salaka” as Buginese cultural symbol is a metaphor or symbol of “ada14
tongeng” ‘true utterance’. In philosophy of life of Buginese, if someone does not know the
rightness of something, it is better to be quiet, as a poetical and aesthetical concept of,
“ulawengngi mamekkoe salakai mette’e” as the object of the ground of representamen as the
concept of Buginese ethnic poetics (symbol), “tell the truth and never lie”.
IV. CONCLUSION
The writer finds eight kinds of cultural symbols, which have different message. They
are (1) unganna panasae -tunas nangka ‘jackfruit flower’ a metaphor or symbol of lempu
‘honesty’, (2) belo kanukue ‘nail adornment’ means pacci‘LAWSANIA ALBA’ metaphor/symbol
of paccing or hidupbersih ‘clean life’ not to do grafts and corruption, (3) mabbulosibatang ‘be
unity’ or massiddi ‘unite’ metaphor/symbol of assidiang ‘sitting together to get an agreement’,
(4) sulo ‘torch’ metaphor of paddisengeng ‘knowledge’ symbol of tau-macca ‘smart/clever
people’, (5) bokong or bekal ‘provisions’ metaphor/symbol of makkamala or beramal or amal
‘charity, provisions in the world and hereafter, (6) golla ‘palm sugar’ macenning ‘sweet’
metaphor/symbol of kebaikan ‘doing goodness and having happiness’, like maperru ‘thoughtful’,
malabo ‘generous’, pattulung ‘helpful and philanthropy’, and patturung ‘fond of participating’,
(7) ulawengi mammekoe ‘be silent is the best’, metaphor/symbol of sifa makanja ‘good behavior’
or ‘good attitude’. It means do the best along the life. (8) Salakaimette’e ‘to talk is better if we
know the truth of something’, “salaka” as Buginese cultural symbol is a metaphor or symbol of
“ada-tongeng” ‘true utterance’. It means tell the truth and never lie. All these should be taught at
the early of character building and enlightenment of heart of the generation, at home, at schools,
and at the university. Therefore, parents, teachers, and lecturers are motivators. They should try to
implement their local genius anytime and anywhere.
V.
REFERENCES
Carver, D.J. and Wallace, M.J. 1985. Pacific School Dictionary. William Colins Sons & Co. Ltd.,
London.
Harun, Sudarmin. 2012. Cultural Values in Buginese Traditional Songs. Unpublished
Dissertation. Program Pascasarjana Unhas, Makassar.
Koentjaraningrat. 1974. Pengantar Ilmu Antropologi. Jambatan, Jakarta.
Linton, Ralph. 1984. The Study of Man: An Introduction.Appleton-Century-Crofts, Inc., New
York.
Peirce, Charles Sanders.1960. Collected Papers of Charles Sanders Peirce. Volumes I and II.
Harvard University Press, Cambridge.
Rahim, Rahman. 1985. Nilai-Nilai Utama Kebudayaan Bugis. Hasanuddin University Press, Ujung
Pandang.
Salim, Muh. 1969. Gelora Kebudayaan Daerah. (Jilid: 1, 2, 3). Kantor Pembinaan Kebudayaan
Kabupaten Sidenreng Rappang, Pangkajenne.
__________. 1994. ElongMatutu. Kantor Pembinaan Kebudayaan Kabupaten Sidenreng
Rappang, Pangkajenne.
Sandarupa, Stanislaus. 2011. KearifanLokal Anti-korupsi. Kompas, 14 Mei 2011.
Sudjiman, Panuti dan Zoest Aart. 1992. Serba-Serbi Semiotik. Gramedia, Jakarta.
Zoest, Aart Van. 1980. Semiotika: Tentang Tanda Cara Kerjanya. Terjemahan Ani Soekowati.
Yayasan Sumber Agung, Jakarta.
15