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CHARACTER BUILDING OF THE BUGINESE
THROUGH THEIR TRADITIONAL SONGS
(SASTRA BUDAYA)
Sudarmin Harun
Faculty of Cultural Sciences
University of Hasanuddin, Makassar
Abstract
The article describes how the Buginese signs or representamens, ground
of respresentamen (ideas or concept), and object work. Between the object
and representamen there are symbol, index, and icon that have meanings.
These all work to yield significant meanings beyond the meaning of
symbols that are included in Buginese Traditional Songs (BTS). BTS
function not only as an entertainment but also as a social control of life of
Buginese. This writing aims: (a) to delineate the cultural symbols found,
together with their kinds, their, literal, and idiomatic meanings; those are
applied in BTS; (b) to elaborate the aspect of values found, together with
their significant meanings, those are reflected by the cultural symbols in
BTS; and (3) to depict scientifically the significant meanings and the aims
of cultural symbols used by Buginese community. The writers applies a
set of linguistic and literary tools in BTS ways to a analize not just the
freshly composed poetic text (Galigo and non-galigo pattern) but also
what the performance do with the text to achieve their sociocultural goals
and the influenced by works in semiotic analysis of indexicality that
functions to connect text with context for example Galigo. This shows us
the pattern of ritual songs parallelism in use, and the semiotic analysis
provides the tool to connect this pattern with other aspect of Buginese
culture, i.e. poetics and social form, poetic and local wisdom or advice.
Key words: cultural symbols, values, literal, and idiomatic meanings.
I. INTRODUCTION
Traditional song is the song in which its lyrics are derived from or contain
Buginese ancestral local values. In Buginese, it is called “Elong Pappaseng”–local
wisdom song or “Elong Pangaja”–advice song. These two kinds of songs are talking the
Buginese ancestral advices. The original form of Buginese song uses Galigo Pattern such
as “Pute Sassa”–Pure White. This genre of local literature is called “Buginese
Traditional Songs” (BTS). BTS function not only to entertain the addressees but also to
convey ancestor’s cultural messages. In BTS, there are many cultural symbols used and
most of them are expressions of plantation, e.g. “unganna panasae”–jackfruit flower. The
ancestor uses symbols of plant because in Galigo Period (VII – X Century) (Huzain,
2009: 22) there was no writing at all and the ancestor lived in plantation. Besides cultural
symbols, BTS also implicitly contain cultural values. The Buginese singers sometimes
sing the BTS in the context of marriage, inauguration, and politics. Therefore, based upon
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those aspects, BTS and cultural symbols are very interesting to be investigated and
discussed.
Pakkecapi (a man/woman who is playing or picking kecapi) sings the BTS
accompanied by one, two, or more lutes (kecapi). Besides traditional style, there is also
modern style or new creation that began in 1970s known as “Symphony” or “Kecapi
Orchestra” that comprises of numerous instruments: kecapi, flutes, drums, and singers,
the music is arranged in the idiom of Western Music. The singers of symphony of kecapi
are only to sing non-narrative BTS while the singers of traditional kecapi style or old
style are merely to sing narrative BTS, which usually last an hour or more accompanied
by one or two kecapi, without being accompanied by other instruments.
According to Salim (1984: 4-7), there are two cultural massages that are always
implied in BTS 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 songs are for personal and public entertainments that have
significant cultural values and a very important role in the life of the Buginese
communities.
Traditional songs are product of local literature and the mirror of attitude, action,
and pattern of thought of the society who produces them. Their presence among the
communities applies a serious interest, in line with the prosperous development at
present. It has become a reality that some Buginese at present are lack of knowledge
about the meanings of symbols of their traditional songs. If such a situation lasts longer
and there is not any significant effort done such as research, it is doubtful that such a
valuable inheritance will gradually extinct.
Based on their regional aspect, they could be developed to become one of national
and international contributions to the culture. Moreover, the song is the most effective
medium to convey directly the ideas, thought, and feeling. In addition, as a regional
literary work that has the deepest meanings of symbols, it could be developed from
regional to become national literary work.
Furthermore, the writer is interested in doing research and analyzing the meanings
of symbols of the Buginese oral-text or written-text tradition in order that it could be
understood more clearly one of the literary genres like the texts of the Buginese
Traditional Songs (BTS).
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The first problem is BTS 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
Bugiinese-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 BTS. The third one is that by the use of cultural
symbols the addressers insert and imply the local wisdom or messages of Buginese
ancestor in old Buginese version in BTS. For the complete information and the different
objects of research, look at the next chapter.
II. SEMIOTICS AND CULTURAL SYMBOLS
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).
Semiotics or semiology is a terminology refers to the same science. The term
semiology is applied more in Europe, while semiotics is common (America and Europe).
This term is derived from the Greek word semion that means “sign”, in English; it is the
science that studies the system of sign such as: language, code, signal, and so forth. In
general, semiotics is defined as a general philosophical theory dealing with the
production of signs and symbols as part of code systems that are used to communicate
information. Semiotics includes visual and verbal as well as tactile and olfactory signs
(all signs or signals which are accessible to and can be perceived by all our sense) as they
form code systems which systematically communicate information or massage that relate
to human behavior. (Nőth, 1990: 13).
A symbol is something with cultural significance and resonance. It has the ability
to excite, and it has great meaning. Some expert’s view of symbols is that they are
conventional: we learn what symbols mean and we associate symbols with all kinds of
events, experiences, and so on–many of which have powerful emotional resonance for us
and for others. Symbols, then, help us make sense of things; they help us shape our
behavior and achieve culture. Though the symbol may be quasi–motivated, we should not
overemphasize its naturalness. Our understanding of symbols (and other sorts of signs as
well) often depends on what we bring to them from our cultural heritage (Berger, 1999:
24).
Furthermore, Haley (1988: 14) remarks that poetic metaphor involves the
balanced use of all three signs in Peirce’s most famous trichotomy: the Symbol, the
Index, and the Icon. A symbol stands for its object mainly by virtue of law, which
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includes, but is not limited to, largely arbitrary convention; an index represents its object
by means of some spatial or causal connection to it, as for example smoke is a sign
(mainly an index) of fire; an icon signifies its object because it resembles it in some way,
as a photograph is (principally) an icon of the thing depicted in the picture.
To support the above statement, Sandarupa (2012: 10) argues that the terms index
and indexicality come from Peirce. In talking about how sign is related to object through
the ground of reprresentamen Peirce sees such relations in three ways. When a sign is
related to an object based on the idea of similarity, it is called icon. If it is on existential,
contiguity or causal relation then it is index. If it is on convention then it is symbol.
Furthermore, Peirce (1960) argues that some signs may act through other signs.
For example, “symbols” and legisigns may act through sinsigns, Sinsigns may be replicas
(i.e. individual examples) of “symbols” and legisigns. If every thought is a sign, then
every thought may be described as an icon, an index, or a symbol. Icons and indices may
be constituents of symbols. Symbols may be laws or general “types” (i.e. legisigns), and
may be general terms which are used to produced concepts. Symbols may be
conventional signs that are used as signs for other signs.
III. DISCUSSION
1. Cultural Symbols in Pute Sassa –Pure White
Buginese songs have different performance and characteristic from the other
ethnic songs. Buginese songs function not only as an entertainment to the audiences or
listeners but also function as an advice, guidance, and social control as in daily life of
Buginese. In their lyrics, Buginese songs have certain characteristic as seen in the
following song. Its characteristic uses “Galigo pattern” which has three lines in each
stanza: the first line has eight syllables; the second line has seven syllables; and the third
line has six syllables. The total characters are eight added seven added six equals twentyone syllables.
The title of the song is Pute Sassa–Pure White. The message of this song is “if
you get along with someone, do it properly! And put honesty and cleanness as your selfdefense!” The theme is talking the principle of life of Buginese. This song has only two
stanzas. The first stanza is talking about how to associate well to someone in order it may
run well and last long so that could create advantages and happiness. It is an advice to the
audiences or listeners while the second stanza is talking the principle of life of Buginese.
The lyrics imply, there are only two principles that he/she takes as fence, the first one is
honesty and the second one is cleanness. These two principles are metaphorically
symbolized by “unganna panasae” in Buginese lempu–honesty and “belo kanukue” in
Buginese paccing–cleanness. The complete lyrics of Pute Sassa–Pure White are as
follows:
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Pute Sassa
Pure White
N. N.
(1) rekkua tennukki melle
rekkua tennuk
ki
melle
if
weave p2hon
if
weave
you
want
if you get along with someone
(2) taroi temmasakka
taro i
tem ma sakka
put imp neg pref wide
Put it
not
wide
do it properly!
(3) napodo malampe
napodo ma lampe
may
pref long
may
long
may it last long
(4) duami kualla sappo
dua mi
ku
alla sappo
two def
p1sg take fence
two only
i
take fence
only two I take as my fence
(5) ungana panasae
unga na panasa e
unga pos panasa def
flower
jackfruit
lempu–honesty and
(6) belo kanukue
belo
kanuku
adornment
nail
adornment
nails
paccing– cleanness
e
def
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2. Symbols Found in “Pute Sassa”
MEANINGS
LITERAL
IDIOMATIC
LYRICS
NO.
1.
SYMBOLS
FOUND
tennung
KINDS OF
SYMBOLS
thing
4.
sappo
thing
fence
friendship/
get along with
self-defense
5.
unganna panasae
(lempu)
belo kanukue
(pacci)
plant/
fruit
plant/
leaves
jackfruit
honesty
nails adornment
cleanness
6.
weave
Table 1: Symbols in Pute Sassa
3. Peirce Theory of Symbols
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 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. Based on the above elaboration and
the elaboration on chapter two pages 36 and 37, 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. Idea/ground of similarity is icon.
2. Idea/ground of causal or coexistent is index.
3. Idea/ground of convention or rule of agreement is symbol.
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SIGNS
(Representamen)
Icon
Index
Symbol
Object
Ground of Representamen
(Idea and Concept)
Figure 4: Peirce’s Literary Semiotic
Signatum 1: “Tunas Nangka”–Jackfruit flower
Metaphor/Symbol
tunas nangka
jackfruit flower
Icon = lurus
Index = kejujuran
symbol = lempu
unganna
panasae
lempu
honesty
Figure 5: Signatum 1 Unganna Panasae
Description:
Unganna panasae is a cultural symbol of Sidrap 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. The ground functions to 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. That is the true-people malempu. Its icon (similarity) is lurus –jujur. Its index
(causal) is kejujuran –honesty. Its symbol (convention or rule of agreement) is malempu
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–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 a metaphor of lempu.
Signatum 2: “Belo Kanukue”–Nail Adornment
Metaphor/Symbol
pacci
LAWSANIA ALBA
icon = pacci
index = tidak korup
symbol = paccing
belo kanukue
nail adornment
paccing
cleannest
Figure 6: Signatum 2 Belo Kanukue (pacci)
Description:
Belo kanukue” is a cultural symbol of Sidrap 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 hidup
bersih. The ground functions to 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. That is the true-people mapaccing or bersih. Its icon (similarity) is paccing. Its
index (causal) is tidak korup, iri or dengki –no grafts, jealous or slander. Its symbol
(convention or rule of agreement) is hidup bersih –cleanness. Therefore, belo kanukue as
Buginese cultural symbol is a metaphor or symbol of paccing –cleanness in philosophy
of life of Buginese. Bersih is the object of the ground of representamen as the concept of
hidup bersih.
4. Description of the song and the table
Based upon the lyrics and the table of symbols found, the symbols of this
traditional song comprise things and plants. The symbol of Pute Sassa refers to a local
wisdom of Buginese which has the highest moral massage, those are honesty and
cleanness. The table performs the symbols found, kinds of symbols, denotative, and
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connotative meanings that are invented in Pute Sassa. This song is dominated by symbols
which have connotative meanings.
Based upon the table analysis above, symbols that have been found in this song
are “tennung, sappo, unganna panasae, and belo kanukue”. Tennung in lyric (1) is a
cultural symbol that means friendship that suggests and warns Buginese to have friends
in daily life, friend at home, in the office, in business but he must do it properly. If
someone have many friends everywhere, every problem is easy to overcome and to
resolve. Cooperation in many aspects in daily life is very important and that a must in
philosophy of life of Buginese. It is also necessary always to help each other in society.
This is suitable for the principle of life of Buginese. It is conveyed in Galigo pattern
(Monologue, 2011).
malilu sipakainge
ma
lilu
si
pakainge
pref forget
res
remember
forget each other remember
to remember each other if in forgetting
marebba sipatokkong
ma rebba
si
patokkong
pref collapse res
wake up
collapse each other wake up
to help each other in misfortune
mali siparappe
mali
si
parappe
wash away res
wash ashore
wash away each other wash ashore
one feeling in poorness
The title of this traditional song is Pute Sassa–Pure White. This title is a symbol.
A symbol refers to a convention that means a kindness person. It is a metaphor, namely:
ati macinnong–purity of heart, a person who has the life principles of honesty and
cleanness. He/she could be trusted because of his/her honesty and cleanness.
In lyric (4) sappo is a cultural symbol that means self-defense that warns
Buginese to have self-defense in their daily life. By having self-defense, they may set free
from many problems in their life. They may be in a peaceful life. In lyric (5) unganna
panasae is a cultural symbol that means honesty that warns Buginese to be honest during
their life. In lyric (6) belo kanukue is a cultural symbol that means cleanness that warns
Buginese always to have clean heart during their life. The other meaning of lyrics (4), (5),
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and (6) are “only two aspects that we can choose someone as a friend that is a person who
has the honest and clean heart.
One of the Buginese civilizations could be proud is weaving. Now, this activity
becomes home industry which produces a beautiful silk-clothe and silk-sarong. From this
livelihood of Buginese appears the word tennukki–weave that applied to imply a daily
activity at home. The first stanza of the song is an advice: If you get along with someone,
does it properly! in order your friendship may last long. Lyric (1) rekkua tennukki melle
is a metaphorical association (friend) which interpreted as a symbol refers to an object
resemblance, has a similarity with a daily activity, to weave and to get along with
someone. They are two activities which could create the advantages and happiness.
Therefore, the word tennukki–to weave is a metaphorical symbol that means to get along
with someone. Lyric (2) taroi temmasakka symbolizes an icon that connotes to an advice:
do it properly!–aja mutalliwe sipoji. Lyric (3) napodo malampe is a message, a prayer
that could be interpreted arbitrarily, or a convention that means mannennungeng–may it
last long. Lyric (1), (2), and (3) are image icon. It seems through the repetition of double
consonant /kk/ in the lyric: rekkua tennukki melle taroi temmasakka napodo malampe. It
poetically suggests a deep message to the audiences that associate with someone there is
a limitation.
The second stanza of the song contains the life principles of Buginese, which
derives from one of the local wisdoms. It sounds: (4) duami kualla sappo, (5) unganna
panasae, and (6) Belo kanukue. These lyrics mean only two I take as my fence, the first
one is honesty and the second one is cleanness. The word sappo–fence in lyric (4) is a
symbol which refers to a convention that means self-defense, it is a symbol of protection.
In lyric (5) unganna panasae is a symbol of lempu–honesty, old version in Buginese is
“lenro”, it is also a symbol which symbolizes conventionally about the honest people. In
lyric (6) belo kanukue is a symbol of paccing–cleanness. “pacci” in Buginese is
analogous to the word paccing means cleanness. In addition, this symbol becomes a
convention that means cleanness. For the process of the analysis, literal and idiomatic
interpretation, how a symbol yields meaning, can be depicted as follows:
Representamen
sappo
fence
concept
Self-defense
Representamen
unganna
panasae
belo kanukue
Figure 7: Life Principle of Buginese
Ground
lempu
paccing
Object
honesty
cleanness
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Base on the theory of symbol of Peirce, figure 4 can be elaborated that “sappo”fence is a representamen and “unganna panasae”-jackfruit flower and “belo kanukue”nail adornment are also representamen, because they are signs or cultural symbols of
Buginese. Their concepts are self-defense and “lempu and paccing”, their objects are
honesty and cleanness. Their grounds are if representamen and ground or concept
function as self-defense, it is caused by the presence of “lempu”-honest and “paccing”cleanness as the object of cultural symbols. “Unganna panasae” and “belo kanukue”, as
representamens are metaphor of “lempu and paccing”. Their other objects, symbol
beyond symbol and meaning beyond meaning are “no corruption or grafts, no dishonest,
no hate, and no jealousy”. These are the significant meanings found in Buginese
Traditional Songs (BTS) “Pute Sassa”-Pure White.
Pute Sassa is a traditional Buginese song. This song is short but full of
significance meanings which are symbolized by symbol of thing. Symbols that are found
in this song are symbol of self-defense, honesty, and cleanness. These symbols not only
become merely a symbol but also a principle of life of Buginese in society.
Based upon the Buginese cultural symbols, the symbols unganna panasae and
belo kanukue that mean lempu–honesty and paccing –cleanness can refer to and connote
to anti-corruption and dishonesty. Since, the honest and clean people will not do
corruption and dishonest, their hearts are believable. Corruption and dishonesty are both
deeds that against customs and traditions of Buginese. Corruption is someone who has
taken something illegally, against the customs and the laws, while dishonest is someone
who often or always lies. Therefore, corruption and dishonesty behaviors are not praised
and to ashamed at all in Buginese society. However, it is ironic, all corruptors, who have
been sentenced to do corruption by the court, come from the region which has lots of
local wisdoms. One of them is local wisdoms anti-corruption (unganna panasae and belo
kanukue), in this case, the corruptors do not civilize and have no moral at all and they do
not implement their local cultural wisdom in doing their job or occupation in the office or
on the field.
The following is Buginese ancestor’s “pappaseng” (Monologue, 2011).
sadda mappabati ada
sadda
ma
pabati
ada
sound
pref
embody remark
sound
embody remark
sound embodies remark
ada mappabati gau
ada
ma pabati
remark pref embody
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remark
embody
remark embodies deed
gau mappabati tau
gau
ma
pabati
deed
pref
embody
deed embody person
deed embodies person
deed
This “pappaseng” means only the right remark and deed of someone; leader or
common people, he/she will be honored and trusted by the people around him/her. The
other pappaseng in Buginese is “ada-adae mitu, gau-gaue mitu na to tau” (Monologue,
2011) philosophically means only our remarks and deeds we are be a man not animal,
man has culture but animal has not. Man has local wisdom but animal has not.
As an individual who has the local wisdom should always maintain clean life that
is symbolized by “pacci”, and straightness or honestly life that is symbolized by
“unganna panasae” as a preventive measure of the negative behavior or dishonesty in
undertaking his/her daily works.
The parents who let their son and daughter either go to work, in the office or on
the field, in the country or outside, instruct “duami kualla sappo, unganna panasae, belo
kanukue”. The word “sappo” means fence is a symbol and a metaphor of self-defense.
The phrase “unganna panasae” is also a symbol and a metaphor of “lempu” and the
phrase “belo kanukue” is a symbol and a metaphor of “paccing”. So, in this local
wisdom: “lempu” and “paccing” are fence that must be always become self-defense
where he/she lives, looks for his/her livelihood. In addition, the object of “lempu” is
“anti-corruption” and the object of “paccing” is “dishonest”. If someone was involved in
doing corruption, it means he/she acts against “pappaseng–lempu” local wisdom of
honesty, while if he is involved in doing “lie or falsehood” it means his mind has been
contaminated. His mind is not clean anymore but it is dirty. In addition, he acts against
“pappaseng–paccing” local wisdom of cleanness.
Why Buginese ancestors do used cultural symbols “unganna panasae” and “belo
kanukue” and others in his pappaseng at the early period of life. At that time, there was
no writing. Our ancestor was afraid if he is not at home, travelling, or died, and his
grandchildren forgot his pappaseng. Therefore, the replacement of writing is the cultural
symbols. The question appears, are not there any other shoots and leaves of plants that
could be the symbols? In Sidrap, jackfruit grows rapidly in the garden and in the house
yard, while pacci plant (LAWSANIA ALBA) only grows rapidly in the house yard. In the
garden and in the house yard, there are many kinds of plants to grow rapidly but they are
not synonymous with Buginese words “lempu” and “paccing”. The other factor is
jackfruit and pacci plants have multifunction and utilization in the daily life of Buginese.
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The multifunction of jackfruit is: (1) fence of the garden; (2) a shelter for
gardener; and (3) a protector for the other plants. Its utilization is: (1) its trunk has the
best quality be made of lute (kecapi); (2) its leaves can be made of exotic flower in
different color; (3) its dried branches become wood burning for cooking; and (4) its fruit
can be made of vegetables, Sambel (spicy condiment), cake, juice, extra meal. It is one of
“buah menre or lise walasoji”, a specific fruit that brought by the bridegroom in wedding
party. Besides “jackfruit” functions as a symbol of honesty, it also functions as a symbol
of “achievement” or “success”. His idea is achieved in being married. In spite of its
function and utilization, jackfruit to be well known fruit in Buginese society and its shoot
become convention synonymous with Buginese word “lempū”–honesty.
The utilization of “pacci leaves” is: (1) nail adornment, before the modern period
women use it to color their nails, red color; (2) a media of uniting, for wedding and
Qur’an graduation ceremony (Mappacci); (3) for bathing corpse; and (4) to become a
convention in Buginese society that is synonymous with Buginese word “paccing”
cleanness.
In Buginese customs and traditions, oral or written, are found some ancestor’s
local wisdom which written in Lontaraq leaves and then in Buginese traditional song like
in Pute Sassa. By the media of singing a song is considered more effective than
“Ma’sure”, because through the media of entertainment. There are a lot of chances to tell
the ancestor’s local wisdom in some ceremonial activities, such as wedding party,
birthday party, sunnatan–circumcision, mappanretemme–graduation, syukuran–thank
giving, akekah–ritual shaving of baby’s hair for the first time, local and state anniversary,
and official ceremony.
Let us actualize and construct the teaching of local wisdom, and teaches it from
elementary school to high university levels, at home, in Buginese local area, and in South
Sulawesi. In addition, before our leader candidate place an official position in whatever
department, he/she must be tested his/her knowledge about his/her cultural local wisdom.
The most important is, as a candidate leader, he/she must swear that he/she will obey
his/her local wisdom.
Let us build our region, province, and nation, as a civilized nation that has the
basic of local wisdom. One of the well known ancestors from Sidenreng Rappang
(Sidrap) who has given his advices (pappaseng) in Adat-Law, government, and history, is
La Pagala Nene Mallomo, lived in XVI – XVII Century, remarks in Galigo pattern that:
(Salim, 1969: 1)
tennapodo mannengnungeng
tenapodo
ma
nengnungeng
may be
pref
continuously
may be
continuously
it may be continuously
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lempue tettong tungke
lempu
e tettong tungke
honesty def stand
alone
honesty
stand
alone
honesty is erected
tenri bali-bali
te
bali-bali
neg bali-bali
not reject
everyone obeys it
The significant meaning of this “pappaseng” is the honest man will not get a
problem, if he/she gets a problem Dewata–God would safe him/her. Hasan Pulu in his
song “Buang Tassanra Mua” remarks that:
rekkua taengkalingai
rekkua ta
engkalinga
i
rekkua p2pl listen
prep
if
you
listen
to
if you listen to
paseng toriolota
paseng to
riolo
ta
advice person past
p1pl
advice ancestor
our
our ancestor’s advice
buang tassanra mua
fall down stumble over still
although fall down, you are still safe
mau mali rappe mua
when wash away wash ashore still
when you wash away, you are eventually safe
The significant meaning of this local wisdom is if we listen carefully to our
ancestor’s advice, we will be safe from the negative action such as corruption. If the
young men and students also obey the above advices, they will be safe and never
involved in negative action such as riot. Our village and country will be safe and our
societies live quiet and peaceful.
IV. CONCLUSION
Cultural symbols that appear in Buginese traditional songs not only have literal
meanings but also have idiomatic meanings. In that songs that become the object of
15
study, apply galigo pattern. Each cultural symbol has certain meanings that function as
prayer, advice, warning, and local wisdom, aiming to get safety, success, welfare,
prosperity, peaceful, and happiness from God’s blessing. It can be understood the
significant meanings of the cultural symbols through Buginese convention and through
the process of literal and idiomatic translation or interpretation. In this study, the
researcher finds 6 (six) cultural symbols. The most interesting among those 6 (six)
cultural symbols are unganna panasae –jackfruit as a symbol of lempu that means honest.
Secondly is belo kanukue –nail adornment as a symbol of paccing that means cleannest.
Besides symbols of lempu and paccing the green color conventionally symbolizes
fertility. It means both husband and wife are masempo-dalle or sogi –rich and mawija bear many children.
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