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CHAPTER III
RESEARCH METHODOLOGY
In order to avoid the confusion and misunderstanding about the use of
term between methodology and method, it is better to know the meaning of both.
The methodology and the method seem similar to one another but the intention
of both is actually different (Endraswara, 2006: 5).
Method is derived from Latin, methodos, the root of word is meta means
aim to something, through in, after, go along, and hodos means way, direction,
and manner. In other words, method is considered as ways and strategies to
understand reality that happens, intended to make the problem becomes simple.
Etymologically, methodology comes from words methodos and logos,
which mean the philosophy or the method of the knowledge. The principle of
methodology is to explain the intellectual procedure of analyzing the scientific
study. The procedure unrealized occur since the researcher putting on the
infested of certain object, then continue by composing of proposal of the study,
determining the concept and the model of study, identifying the problem and
hypothesis, having the rest of theory, analyzing the data, and then concluding the
study. Thus, it is clear that the methodology implies the method; on the contrary,
methodology cannot be said as the collection of methods.
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Research method is the way used by the researcher to obtain the data in
order to have good results. This chapter presents the approach and kind of
research, researcher’s role, research setting, data resources, techniques of
collecting data, techniques of analyzing data, and data validation.
A. Approach and Kind of Research
This research has been designed to employ semiotics approach. This
approach is used for describing data obtained through various means of
recordings and interviewing which have been conducted. Semiotics approach is
used because the subject of this research is driven from the Buginese writtentext tradition, in this case, the texts of the Buginese traditional songs, especially
to the local interpretation that produces cultural messages and values. Semiotics
study deals with signs or symbols use in human communication determined by
the condition of society. In addition, semiotics also deals with how the symbols
create meaning and make sense of what is referred in specific circumstance.
The aim of this research was to identify, examine, and reveal the cultural
symbols and their meanings, the cultural values, and the contexts of BTS in
written-text tradition. This study is semiotics study, which is determined by the
speaker’s attention and the hearer’s interpretation about signs or symbols, and
also determined by situation (speaker and hearer, context of utterance, aim of
utterance, utterance as a form activity of speech act, and utterance as a result of
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verbal act), setting, and cultural context (Leech, 1987: 13-14). It is often apparent
semiotics study can produce meaning. Meaning which is based on the speaker’s
intention, the hearer’s interpretation about symbols, and context of the utterance,
and the local interpretation. This research examines the poetics form and
meaning, and the study of signs or symbols in the process of communication, so
that; this research is directed to cultural semiotics analysis.
B. Researcher’s Role
In collecting data, the researcher himself acts as a key-instrument. In
conducting the data collection field note, and interview directory, were employed.
Electronic Recorders (Handy-cam, and Digital Camera) were also used to
provide data that are more valid.
At the beginning of the process, observation and site visits were
conducted in order to obtain information about the origin of Buginese traditional
songs, the form of the songs whether “Galigo pattern” or “Non-galigo pattern”,
and the meanings of difficult words and signs or symbols.
The observation resulted in the collection of ten selected written BTS. The
selected songs were transcribed orthographically in the Buginese language and
then translated into English. In order to get accurate realistic data, some
interviews had also been conducted.
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To support the objectivity, the research was undertaken by taking “ethic”
and “emic” in the study of culture into account. In this context, the researcher’s
view and personal interpretation will not interfere with the essence of the
research objectivity. Furthermore, triangulation by means of crosschecking the
source of data was implemented (Figure 3). The authenticity of manuscript was
cross-checked with the text of BTS, native Buginese or humanists, culture as well
as lontara’.
Data Collection
Data Display
Data Reduction
Conclusion/
Verification
Figure 3: Theoretical Triangulation of Data Analysis
(Miles and Huberman, 1984: 23)
C. Research Setting
This research was conducted in Sidrap Regency because the area is well
known as the center of the BTS. The area was selected because of its
accessibility and its proximity by the researcher who lives about 200 km away.
The main actor who lives there is Ladaming (70) who happens to be one
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composer and actor on traditional kecapi songs. He has composed as many as
forty tittles of kecapi songs. Nearly all sites in Sidrap area have been visited to
perform kecapi in various occasions such as wedding party, thanks giving party,
other ceremonies of cultural events, and the anniversary celebration.
The setting of this research at first was in the form of oral-text and then in
the form of written-text of the Buginese songs which were transcribed from the
Buginese Language orthographically and then translated into English.
D. Data Resources
The resources of corpus data in this research are from the Buginese oraltext tradition and then written-text. Buginese traditional songs, which have poetic
utterances that contain cultural messages and values.
Furthermore, the data were collected by applying primary sources and
secondary sources.
1. Primary Sources
In order to get the primary data, the researcher collected 10 non-narrative
texts of BTS. For non-narrative BTS, the researcher collected 10 selected
interesting titles. They become the object of this research because all these
selected BTS are based on the result of the researcher’s reading, have many
symbols of Buginese culture, which have not been investigated and revealed yet.
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As the authentic data, they are all kept in written-text. The titles of the ten nonnarrative Buginese songs are as follows:
1. Putē Sassa –Pure White, (N. N.)
2. Lima Akkatenningeng Masse –Five Strong Life Principles, (Hasan Pulu)
3. Sulo Mattappa Ri-alēwē –The Torch that shines out on our Body, (St.
Rohana)
4. Bokong Temmawari –Unspoiled Package, (Hasan Pulu)
5. Golla Nawale Paria –Goodness Retaliated with Badness, (Hasan Pulu)
6. Buang Tassanra Mua –Fall down but Safe, (Hasan Pulu)
7. Ana’ Mabbura’ Mali --Hopeless Adolescent, (Daeng Paliye)
8. Ongkona Sidenreng –Fondness of Sidenreng, (N. N.)
9. Ongkona Arumponē –Fondness of Arumponē, (DG. Masikki)
10. Tanahku Sidenreng Rappang –My Land of Sidenreng Rappang, (Jubir
Pariwusi)
2. Secondary Data
The secondary data were obtained to enrich the primary ones by reading
various books including research findings, journals, and online internet.
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E. Techniques of Data Collection
In collecting data, the researcher acts as key-instrument. Performing keyinstrument, the following items were employed such as note forms, interview
directory, instrument of data collection, and electronic recorders such as digital
camera. Two instruments regarding data collection were also included as follows:
1. Observation
Initials observation was made for obtaining the numbers of traditional
songs that he/she knows. The numbers of Buginese traditional songs
were then collected from the observation.
2. Interview
The interview was made by asking questions related to traditional oral and
written-text. During interviews, responses from the respondents were carefully
documented especially concerning what they know about cultural symbols,
values, and the meanings of traditional songs.
3. The Study of Documents
In this research, written-texts were collected from different sources. After
transcribing the texts orthographically, data identification, classification of
selected data, data presentation, and interpretation, drawing an inference or
verification of data was made. All processes were based on the view of etic and
emic in the study of culture. In this research, the researcher leans more against
the local knowledge. This is to imply that the researcher may stand outside of his
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research object by using perspective etic; however, it is essential for the
researcher to bring around his own views on local interpretation by using
perspective emic to enrich his research.
F. Techniques of Data Analysis
This research was qualitative employing semiotic approach. The data of
the research were taken from the Buginese written-text tradition. In analyzing the
data, the researcher employed descriptive qualitative analysis. This was done
because this research employed semiotic approach. The steps of analysis were
as follows:
1.
The data obtained were translated into English, (in three processes:
morphemic, literal/modified, and idiomatic translation), according to
the Buginese cultural context for the needs of analysis in the form of
orthography.
2.
The classification of data about the texts of BTS was elaborated
clearly by applying semiotics analysis theory, mainly symbol.
3. The data obtained were sorted into categories based on the kinds of
symbols.
4. The data obtained were analyzed according to the meanings. The
meanings of symbols based on the local interpretation or convention of
the Buginese literary works.
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5. The data obtained were analyzed according to the meanings of
Buginese local wisdom; the meanings of cultural symbols of the
Buginese community based on Peirce’s semiotic theory, in this case
symbols used in the text of BTS.
6. The data obtained were analyzed using semiotic approach, namely
descriptive qualitative analysis, based upon local interpretation and
based upon semiotic theory.
7. The results of data analysis were concluded as scientific finding of the
Buginese traditional songs.
G. Data Validation
In order to get accurate findings and valid interpretation of data, the
researcher conducts both theoretical triangulation (Strauss and Glasser , 1980),
and logical triangulation (Strauss and Corbin, 1990).
Theoretical triangulation was done by confirming the result of the analysis
with the theories elaborated in chapter 2 to obtain credible of research findings.
Logical triangulation was done by confirming the result of data analysis
with kacapi actors, the native of the Buginese language, the experts of Lontara’,
the experts of the Buginese culture (humanists); and the people who have
listened to the traditional songs before. This was done to maintain and enhance
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the accuracy of the results of data analysis and findings about the Buginese
written-texts tradition.