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CHAPTER II
LITERATURE REVIEW
A. Previous Studies
Some researchers have done research on the field of culture who applied
semiotic approach all over the world differently and in different fields. In principle,
according to Eco (1979: 1–14) the number of applied semiotics is not limited.
This semiotic field itself could be a communicative process, which seems more
natural and spontaneous. There are 19 fields which could be considered as
scientific material study in semiotics, namely: zoomsemiotic, olfactory signs,
tactile communication, code of taste, paralinguistics, medical semiotics, kinesics
and proxemics, musical codes, formalized languages, written languages or
unknown alphabets or secret codes, natural languages, visual communication,
system of objects, plot structure, text theory, cultural codes, aesthetic text, mass
communication, and rhetoric.
Based upon this division, this research belongs to text theory, cultural
codes, and aesthetic text. In the text, the researcher analyses the Buginese
written-text tradition, in this case, the text of Buginese Traditional Songs (BTS).
In cultural codes, the researcher analyses the Buginese cultural symbols that
exist in the text of BTS; and in aesthetic text, the researcher analyses the
Buginese Traditional Songs in the traditional form or literature poetics form such
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as poetry and Galigo. The researcher, certainly, quotes some couplets from the
text of the BTS to analyze according to the aim of this research.
Semiotics is a theory of sign or symbol. Both philosophers, Charles
Sanders Peirce (1839 – 1914) and Ferdinand de Saussure (1857 – 1913), firstly
express this theory although they belong to the same period; they do not know
each other. They both have created different concepts of semiotics. The
followers of Peirce on one side and the followers of Saussure on the other side
prove it. Peirce is an expert in philosophy and logic, while Saussure is an expert
in linguistics. The followings are the researchers who have analyzed kecapi,
pakkecapi and songs in their research:
Three researchers who have done research on kecapi, pakkecapi and
songs are Amin (2005), Amir (2006), and Amaluddin (2009). Amin (2005)
discusses a comparison of pakkecapi music and the songs of the Philippines
and Sulawesi. According to Amin, Buginese sailor discovered kecapi, so that,
its shape is like a boat that has two strings. The origin of kecapi strings are
taken from his boat sail ropes.
Amir’s research (2006) investigates and discusses about Pakkacaping,
its existence and development in its historical perspective. The approach is
ethnomusicology. In particular, Amir (2006: 106) remarks that the pakkecaping
music of Makassarese community in Gowa Regency, has flourished in its
internal and external progression. The development of traditional pakkecaping
music of Makassarese in Gowa Regency remains closely connected to its
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context within community, where it is still customarily used as musical
entertainment at informal parties. In short, Amir in his research focuses on
pakecaping, existence, development, and the context within community.
Amaluddin (2009) focuses to discuss four aspects: form, function, values, and
reservation strategy. Those three researchers have weaknesses, there is no
one investigates and discusses the symbols that exist in non-narrative BTS.
The symbols are very important to discuss because they have meanings that
reflect the cultural and philosophical life of Buginese.
Amaluddin’s research (2009) investigates and discusses about four
aspects in Buginese narrative traditional songs, namely: (1) form in the
category of diction is such as “siakkamasēang”–help each other. (2) Function is
such as a medium of social critic in Buginese community. (3) Values are such
as philosophy, religion, and sociology. (4) Reservation strategy is such as direct
strategy done by government and indirect strategy done by the communities.
The three researchers have different object of research, Amin (2005)
for instance focuses on the comparison of pakkecapi music and the songs of
the Philippines and Sulawesi that have the same characteristic of kecapi
instrument and narrative songs. Amir (2006) focuses on pakkecaping, the
existence and development, in its historical perspective. Kecapi has flourished
in its internal and external progression that remains closely connected to its
context within community. Alimuddin (2009) focuses to discuss four aspects
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that has been mentioned above. Those three researchers are talking narrative
pakkecaping songs. They are not talking non-narrative songs.
The weakness is the three researchers do not investigate and discuss
the cultural symbols of BTS such as “Bokong temmawari”–unspoiled package,
cultural values such as philosophy, religion, and social aspects in non-narrative
songs in BTS. This study is concerned with marriage, inauguration, and political
contexts.
Therefore, the writer of this study is entirely different from those three
researchers. The writer of this study focuses on non-narrative text, mainly the
cultural symbols such as “bēlo kanukuē”–nail adornment–“pacci” or “paccing”–
cleanness, cultural values such as philosophy of life of Buginese in south
Sulawesi, and the contexts of marriage, inauguration, and politic such as at
“Pilkada”–Regent Election.
In the aspect of values, Amaluddin (2009) in his research has found
the three aspects of values in narrative Buginese traditional songs. They are:
(1) philosophical values that present view of life of Buginese to act to a better
life comprise: (a) the attitude of firmness in principle; (b) the attitude of deciding
the firmness way of life or a certainty attitude; and (c) the attitude of wisdom. (2)
Religious values are sacred values that enhance charity: (a) to have faith in
God; (b) command to do the five-prayers; (c) command not to commit a sin. (3)
Sociological values are the values that present the mutual interaction among
the community of Buginese in the form of good behavior. They comprise: (a)
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the importance of helping to each other; (b) the importance of having a
meeting; (c) the importance of friendship in joy and sorrow; (d) to have high
dedication in developing community, nation, and country; and (e) to keep and
take care the harmony of life.
The writer of this study has different object of research from
Amaluddin’s research; he focuses on the symbols and values that appear in
BTS, while Amaluddin focuses on diction. Amaluddin discusses function of BTS
while the writer of this study does not discuss it because he investigates and
discusses the cultural symbols of BTS. Amaluddin investigates and discusses
values, but there is one aspect of Buginese cultural values that Amaluddin does
not discuss namely “humanity values”, namely “Sipakatau”, “Pangadereng”,
“Pappaseng” or “advice”. .
Sipakatau is the concept of the human existence. It is “attitude or
behavior” constructed to Ade’-adat, Bicara-law, Rapang-rule, and Wari-ethic
then embodied in “I” (aku) restricted by “Siri” born so-called real-people (Tautongeng) as social creature who appears as characterized people as well as
glorious mind (Insan kamil) (Husain, 2009: 95).
Pangadereng is a good behavior or a way of life of Buginese that
comprises “āde mappasilasa”–a deed that creates no differentiation in the daily
life of Buginese. “Bicara mappasisau” is the action that relieves each other and
the utterances that honor each other. “Wāri mappalaiseng” is the ways (ethics)
that can differentiate good and bad actions (Salim, 1969: 208). According to
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Mattulada (1968: 331), “Pangadereng” is a norm of behaving to the same
human being. Pangadereng comprises customs (āde), laws (bicara), examples
(rapang), and ethics (wāri).
Furthermore, “Pappaseng”, is a word, term or diction in Buginese that
contains moral message, customs and traditions, norms, adat law, beliefs,
conveyed by Buginese ancestor. The aim is to guide someone not to do
negative acts or deeds. All of them are strengthened by the Buginese
philosophy of life “Siri” that is self-dignity. Amaluddin also discusses the aspect
of reservation of BTS but the writer of this study does not discuss it, he
discusses the cultural symbols that are still relevant to marriage, inauguration,
and political context. Based upon the above description, the writer is motivated
and encouraged to investigate and discuss the cultural symbols, cultural
values, and the cultural symbols that are still relevant in a certain context in
cultural ceremonies and others.
B. The Concept of Semiotics
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
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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).
Furthermore, Charles Sanders Peirce (1839 – 1914), is different from the
other experts; one of them is de Saussure (1857 – 1913). Peirce is an American
philosopher who develops pragmatism philosophy through semiotic study.
According to Peirce (1960) “sign is something which stands to somebody for
something in some respect or capacity.” Something is used in order sign can
function, it is called “ground”. Its consequence, sign or representament is always
found in relation to triadic, which is ground, object, and interpretant. For the basis
of this relation, Peirce makes a classification of sign. The sign that is connected
to the ground separated into qualisign, sinsign, and legisign. Qualisign is the
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quality that exists on sign. Sinsign is the existence of actual thing or the event
that exists on sign, while legisign is the norm, which is included by sign. Peirce
differentiates three concepts of the basis of semiotic, namely: syntax semiotic,
semantic semiotic, and pragmatic semiotic.
Furthermore, syntax semiotic studies the relation of inter-sign. This
relation is not restricted to the same system. For example: text and picture in
advertisement discourse in the form of two different sign systems, but both of
them are inter-cooperating to form the intact of discourse of advertisement.
Semantic semiotic studies the relation among sign, object, and its interpretant.
The third form relates to the process of work of semiotic. This concept of
semiotic will be used to view the relation of signs in advertisement, in this case,
non-language sign, which supports the intact of discourse. Pragmatic semiotic
studies the relation of inter-sign, sign user, and the use of sign. Based on the
object, Peirce (1960) divides sign into icon, index, and symbol.
The next, icon is sign in which the relation between signifier and its
signified characterize the sameness of natural form. In other word, icon is the
relation between sign and object or referent, which have the similarity character;
for example: Photo. Index is sign that refers there is a natural relation between
signifier and signified which have causal character or have cause-effect
character, or sign directly refers to reality; for example: smoke as a sign there is
fire. The sign like that is conventional sign that might be mentioned as symbol.
So, symbol is sign that refers to natural relation between signifier and its
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signified. The relation among of them is an arbitrary character; the relation is
based on the convention of society. Based on interpretant, sign, representament
are divided into: rheme, dicent sign or dicisign and argument. Rheme is sign that
possibly people interpret based on their choice. Dicent sign or dicisign is sign
suitable for the reality. While argument is directly to give reason about
something.
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.
In the context of pragmatism, Peirce explained that pragmaticism means
teaching in which its meaning is proved by the practical consequences of that
teaching. Peirce’s pragmaticism has bridged the theoretical ratio and practical
ratio. Thus, in this context, semiotics means knowledge about the reality of
independent status that we achieve through the signs. This process is called
semiosis, the process of creating meaning about the reality of signs and involved
three elements. Noerhadi (2002, 5) remarks that semiosis is an action, or
influence, which is, or involves, a cooperation of three subjects, such as a
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hypothetical sign, its object, and its interpretant, this tri-relative influence not being
in his way resolvable into actions between pairs.
Peirce also defines “semiosis” as the process by which representations
of objects function as signs. Semiosis is a process of cooperation between
signs, their objects, and their “interpretants” (i.e. their mental representations).
“Semiotics” (i.e. the science of signs) is the study of semiosis and is an inquiry
into the conditions that are necessary in order for representations of objects to
function as signs.
Furthermore, Cassirer (1979) and Langer (1971) discuss sign and symbol
in detailed, especially the difference between of them, by analyzing in
accordance with their components. Then, symbol owns specialty of a component
that is concept:
The sign is something to act upon, or a means to command action; the
symbol is an instrument of thought. In an ordinary sign-function, there are three
essential terms: subject, sign, and object. In denotation that is the commonest
kind of symbol-function, there have to be four: subject, symbol, conception, and
object. The radical difference between sign meaning and symbol meaning can
therefore be logically exhibited, for it rests on a difference of pattern, it is strictly a
different function (Langer, 1971: 64).
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C. Symbols
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).
According to Geertz (1973: 45), significant symbols are words for the most
part but also gestures, drawings, musical sounds, mechanical devices like
clocks, or natural objects like jewels or anything, in fact, that is disengaged from
its mere actuality and used to impose meaning upon experience. From the point
of view of any particular individual, such symbols are largely given.
What about a signal, as we understand the term, is a kind of sign which is
used to generate a response of some kind. What is important is that there is an
understanding among all involved that a given signal leads to a particular action.
Thus, a gun shot off starts a race or a red light tells drivers to stop their cars. A
signal is a signifier that functions as a stimulus which occasions (or should
occasion) particular responses.
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Furthermore, Peirce (1960) conveys that there are three types of signs: (1)
Images or icons, which are graphic representations, more or less faithful to the
object. (2) Indices: these are beings or objects linked to the symbolized object
and necessary to its existence, for example, smoke is an index of fire. (3)
Symbols: these concern an arbitrary form, the relation to the signified object of
which arises from a social convention of limited validity in space and time. For
example, a word is a symbol because its phonetic form is not related to that of
the object signified “arbitrariness of sign” (Innis, 1985: 275).
Peirce’s theory of signs is a theory of reasoning and of cognition that
asserts that all modes of thinking depend on the use of signs. Peirce argues that
every thought is a sign, and that every act of reasoning consists of the
interpretation of signs. Signs function as mediators between the external world of
objects and the internal world of ideas. Signs may be mental representations of
objects, and objects may be known by means of perception of their signs.
Peirce (1960, I-VIII) describes signs and symbols, respectively:
(1) A sign (or “representament”) as anything which denotes an object, and
he defines an object as anything which can be thought.
(2) The object of a sign may be either an “immediate object” (i.e. an object
as represented by a sign) or a “dynamical object” (i.e. an object as the
actual cause of a sign). Similarly, the interpretant of a sign may be
either an “immediate interpretant” (i.e. an interpretant as represented
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by a sign), a “dynamical interpretant” (i.e. the interpretant which is
actually produced by a sign), or a “final interpretant” (i.e. the
interpretant which would be produced if the sign were properly
understood) (Peirce, 1958, VIII: 142).
(3) A sign may be classified as either a “qualisign,” a “sinsign,” or a
“legisign,” according to its relation with its “immediate object.” Its
“immediate object” because of internal properties of its own may
determine a “qualisign”. Its “immediate object” because of an actual
relation with that object may determine a “sinsign”. Its “immediate
object” may determine a “legisign” because it is interpreted to be a
sign of that object (Peirce, 1960, I: 3).
(4) A sign may be classified as either an “icon,” an “index,” or a “symbol,”
according to its relation with its “dynamical object.” An “icon” (such as
a picture, image, model, or diagram) is a sign which itself
demonstrates the qualities of its “dynamical object.” An “index” or
“seme” (such as a clock, thermometer, fuel gauge, or medical
symptom) is a sign that demonstrates the influence of its “dynamical
object.” A “symbol (such as a trophy, medal, receipt, diploma,
monument, word, phrase, or sentence) is a sign which is interpreted
to be a reference to its “dynamical object.” This is the Second
Trichotomy of Signs. An “icon” corresponds to the category of
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Firstness, an “index” corresponds to the category of Secondness, and
a “symbol” corresponds to the category of Thirdness (Peirce, 1960, I:
4).
(5) A sign may be classified as either a “rheme,” a “dicisign,” or an
“argument,” according to its relation with its interpretant. A “rheme” is
interpreted as a sign of qualitative possibility, a “dicisign” (or “dicent
sign”) is interpreted as a sign of actual existence, and an “argument”
is interpreted as a sign of a law (or of a necessary truth). This is the
Third Trichotomy of Signs. A “rheme” corresponds to the category of
Firstness, a “dicisign” corresponds to the category of Secondness,
and an “argument” corresponds to the category of Thirdness (Peirce,
1960, II: 144).
(6) A sign may refer to more than one object or group of objects. A sign
may be an element of another sign or may be composed of other
signs. A sign may refer to a simple object, or may refer to a complex
object. A sign may have a simple meaning, or may have a complex
meaning. Its relations with other signs (Peirce, 1960, II: 136) may
determine the meaning of a sign.
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
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“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.
A symbol is a representamen whose representative character consists
precisely in its being a rule that will determine its interpretant. All words,
sentences, books, and other conventional signs are Symbols.
A symbol is a law, or regularity of the indefinite future. Its interpretant must
be of the same description; and so must be the complete immediate object, or
meaning. Nevertheless, a law necessarily governs, or “is embodied in”
individuals, and prescribes some of their qualities. Consequently, a constituent of
a symbol may be an Index, and a constituent may be an Icon. A man walking
with a child points his arm up into the air and says, “There is a balloon.” The
pointing arm is an essential part of the symbol without which the latter would
convey no information. However, if the child asks, “What is a balloon,” and the
man replies, “It is something like a great big soap bubble,” he makes the image a
part of the symbol. That is to say, its meaning is of the nature of a law, it must
denote an individual, and must signify a character. A genuine symbol is a symbol
that has a general meaning. There are two kinds of degenerate symbols, the
singular symbol whose object is an existent individual and in which signifies only
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such characters as that individual may realize; and the Abstract Symbol, whose
only object is a character.
D. Cultural 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 this 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 the life. Therefore, a cultural value system usually
functions as the highest guidance for man behavior. The system of man behavior
structure, its level more concrete like specific rule, customs and traditions, adat
law, and norms all of them based on the guide of cultural value system.
Furthermore, based on the decree or formulation of Directorate of History
and Traditional Values (T.th. 35) about the limitation of cultural term comprises of
all abstract concepts about what is hoped, what is good or considered good by
the owner. Those cultural values consist of the attention, interest, pleasure, will,
need, hope, denying and stimulant that become a framework in determining
attitude and action. Cultural values are reflected in mental attitude, moral, ethics,
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behavior as well as the life-values to get in touch with fellow being/man, nature/
environment and his/her God.
Linton (1984: 215) considers that what we need in modern world at
present is a series of ideals and values which still exists and is 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.
Furthermore, people have spiritual and physical potential. When they were
born, they were straightly present between the community and culture is a main
part of their lives. They are in philosophically present in the system of value that
arranges them according to the phases of their attendance. This system
arranges their behavior and relates to what obliges to be done, must be done, or
may be done, and what must not be done (Huzain, 2009: 10).
According to Singer, (1952: 528) culture consists of the pattern of behavior
either explicit or implicit achieved by people. Then it is transferred through
symbols, so that, in the form of result achievement in a certain characteristic in a
group of people. The symbols used have conventional and connotative meanings
and then they become the cultural goods. They are the basic of essential of
culture and as the traditional ideas, historically achieved and chosen, mainly the
values that stuck to them; while the cultural system on one side can be viewed as
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the action product and on the other side as the element that gives a condition to
the next action.
According to Rahim (1992: ix) Buginese cultural values consist of “siri”–
self-dignity,“awaraningeng”–braveness,“agettengeng”–consistency, “alempūreng”
–honesty, and “keimanan”-faithfulness. Therefore, in the aspect of cultural values
we can find philosophical, religious, social/humanity, and other values.
E. Context of Ceremonies
According to Mey (2001: 41) context is more than just reference. Context
is action. Context is about understanding what things are for; it is also, what
gives our utterances their true pragmatic, semiotic, or symbolic meaning and
allows them to be counted as true semiotic pragmatic and symbolic acts.
The interpretation of the context can be understood easily if the
participants, in this case, the addressers, the audiences, the topics, the
circumstances and the place are identified. For example, the addresser asks
his/her audiences in a field of campaign “Which of you people are Democrat?”
This utterance can be understood easily because the context refers to “The
environment or circumstances in which language is used” (Brown and Yule,
1983: 25).
If the audiences do not understand the context of this utterance, it can be
misinterpreted that the addresser asks which of the audiences are Democrat.
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However, based on the circumstances we can interpret that the addresser wants
to know whom among of the audiences as the endorsers of Democrat Party, who
want to choose the candidate of Democrat on the day of election.
In the context of BTS the addresser can make the audiences do an action
by listening to his/her utterances and at the same time the addressers perform an
act while uttering his/her utterances. For example, “mauni pada rikapang, ta pada
makkatenni, ri wiring tennungngē”–although we are suspected we catch hold of
together at the edge of weave–sakka (deny) has performance about the act of
promising.
The context of BTS is the circumstances of the campaign, marriage, and
inauguration, the involved participants, the topic of the song, the cultural symbols
used and the place where the activity occurred.
In the context of BTS, there are several features as follows:
a. Participants:
As Goffman (1979) in Coulthard (1985:45) states that a speaker who
transmits a message and a listener who receives it, known as participants.
Then Hymes argues that there are at least four participant roles, addresser,
speaker, addressee and hearer or audience, and that conversation may
require only an addresser and an addressee, other speech acts require
different configurations.
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Any comprehensive description of a speech community must include
data on who and what can fill the participant roles, and in what speech event
and speech acts. Some speech events simply require that certain participant
be filled.
b. Topic:
Simply, we can say that topic is subject talked in conversation, or
subject for discussion. We can also say that topic is the main point discussed
in the text.
According to McCarthy, (1991: 132) topics could be defined as
stretches of talk bounded by certain topic and transactional markers. We could
take a semantic framework, and try to express the content of different
segments of talk according to single-word or phrasal titles (e.g. ‘holidays’,
‘buying a house’), or else we could use interactive criteria and say that
something is only a topic if more than one speaker makes an utterance
relevant to it.
Furthermore, in pragmatic approach, McCarthy (1991: 132) says that
topics are strings of utterances perceived as relevant to one another by
participants in talk. It is also said that topic is a title for the subject matter of
speech events. In addition, topics can be the reason for talk or they can arise
because people are already talking.
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c. Setting:
In general, it can be defined that setting is the time, place, and social
reality within which a story takes place. This definition is suitable with what
Coulthard (1985: 44) remarks that setting is one of defining criteria of an event
that it occurs at a specific time or in a specific place.
d. Situation:
According to Cook (1990: 9-10) situation covers the factors such as the
cultural and social relationship with the participants, what is known and
assumed the sender knows. These factors take us beyond the study of
language. The unity in discourse may not be achieved without considering
them, and they are called context.
Furthermore, Halliday and Hasan (1976: 21-22) state that the context of
situation of a text comprises three things determine meaning. They are as
follows: Firstly, field is the total event, in which the text is functioning, together
with the purposive activity of the speaker or writer; it thus includes the subject
matter as one element in it. Secondly, mode is the function of the text in the
event, including both the channel taken by the language spoken or written,
extemporaneous or prepared and its genre, or rhetorical mode, as narrative,
didactic, persuasive, ‘phatic communion’. Thirdly, tenor refers to the type of
role interaction, the set of relevant social relations, permanent, and temporary,
among the participants involved.
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In this research, the writer discusses the context of marriage,
inauguration, and politic. These three contexts always appear each year in
Sidrap Regency though the cultural ceremony inserted by the owner of the
wedding, inauguration, anniversary, and local or general election ceremonies.
At present, it is rarely to find solo or duo-pakkecapi performance
accompanied with narrative BTS. Most of kecapi performances are performed in
wedding ceremony, either inside or outside of Sidrap Regency in the form of
“Symphony” or “Kecapi Orchestra”. The singers sing non-narrative of BTS. They
do not sing narrative of BTS anymore. Kecapi symphony is always performed in
the anniversary of Sidrap or the anniversary of our country, and inauguration
ceremony of the state officials or the committee of social or political organization.
In the context of marriage, the singers always sing different kinds of
themes of BTS, but they mainly sing two kinds of them, “Ēlong Pappaseng”–local
wisdom song such as “Lima Akketeningeng Masse’”–Five Strong Life Principles”
and “Ēlong Pangājā”–advice song such as “Sulo Mattappā ri Alēwē”–the Torch
that Shines out in our body. We find the marriage context in the series of
activities of wedding party.
In the inauguration context, the singers also sing different kinds of themes
of BTS but they mainly sing “Ongkona Sidenreng”–Fondness of Sidenreng and
“Ongkona Arumponē”–Fondness of Arumponē. These two BTS have the theme
of impression and belonging. Therefore, we can find inauguration context in the
inauguration activities of the country leaders, party, or certain organization
46
In political context, the singers usually sing the BTS according to the
suggestions and orders of the committee of anniversary celebration (local or
national) or the committee of campaign of regional or general election. In this
circumstance, the singers sing non-narrative of BTS, besides the songs that the
committee has ordered before, based upon the aim of campaign. Between the
pause of the songs, the committee, master of ceremony, or singer inserts political
message by shouting “Choose Golkar!” or “Long live Golkar!”. Thus, we can find
political context in the activities of anniversary and inauguration ceremonies, and
in campaign of regional or general election.
F. Cultural Approach
1. Forms, Functions, and Meanings
In this study, the researcher also views the galigo pattern and the
symbols, namely: galigo pattern and the meanings of symbols within the
Buginese written-text tradition. The forms refer to the formal characteristic of
physical utterance. Grammatically, it consists of the structure of morphology,
syntax, and discourse. For instance, the form in the structure of morphology
can be the form of morpheme or word, and can be the forms of phrase,
clause, or sentence. The form that is meant here is the form that has concept
of meaning. The utterances that have a specific characteristic or a specific
pattern, namely: the utterance has three lines; each line has a different
47
numbers of syllables. The first line has eight numbers of syllables, the second
line has seven numbers of syllables, and the third line has six numbers of
syllables. In Buginese language, this is called “Galigo”. The man or woman,
who is doing the activity of reading it, is called “Ma’galigo”. This specific
pattern differentiates written-text tradition and modern one. For example: (8,
7, and 6 Buginese syllables).
A-tu-tu-wo wel-la da-re
Be careful cultivate garden
Lo-lang-ngē si-a-se-ngeng
Go anywhere in love
Leb-bin-na bo-la-ē
Addition house
(be careful to cultivate your garden!)
keep well your respectability!
(to go anywhere in love)
be in love with someone
(house addition, sonnrong–sionrowang)
who has bad attitude
In Buginese, the word: ‘Lebbinna bolaē’ means “Sonrong” becomes
“Sionrowang” (kumpulkebo), in the process of haplology, it means live
together without getting marriage before.
The first line consists of eight Buginese syllables, the second line
consists of seven syllables, and the third line consists of six syllables. In the
Buginese literature, this is called “Galigo-pattern”. This is a local wisdom,
(Paseng) stated in metaphor, metaphor of Sionrowang, from parents to their
son and daughter do not fall in love or to get along with someone who has
bad attitude, to avoid living together before getting married. It can produce
childbirth outside marriage called “ana-bule” (love child or a childbirth outside
48
married). This deed is against the local wisdom “dishonesty” because both
the young man and woman act against the Buginese customs and traditions.
Theoretically, forms and meanings are implemented totally. It means,
in various forms the understanding to the object must be done in its totality.
Particularly, as the frame work, form and meaning fulfill the way of work on
the basis of continuity of hierarchy, observation commence from the simplest
aspects towards the level of more complex, and so forth (Koentjaraningrat,
1974: 85 – 90) and (Linton, 1984: 402).
Koentjaraningrat (1974) discusses about cultural integration, while
Linton (1984) discusses about the main elements of cultural activities.
According to Koentjaraningrat, there are five elements that must be
considered in cultural integration, namely: pattern, function, interest,
configuration, and orientation. According to Linton, the activity of man, each
element of culture consists of form, meaning, and function. The sameness of
both gives the intensity on the element of function (Ratna, 2007: 118 – 119).
The actualization of form itself is different compatible with the object of
each science observed. Shipley (1962: 170–171) differentiates between
mechanic form and organic form. Mechanic form is a form built from outside,
while organic form is built from inside. Table and chair are mechanic form
because they are made of some materials like wood, metal, paint, and so
forth, while the life itself consisted of work of art as an organic form because it
is created through auto activity and energy from inside (Ratna, 2007: 121).
49
In social sciences, in general, form is elements of the structure itself.
The form itself organizes the whole element of the object of study. In literary
work, form is also applied for referring the difference of genre. According to
Linton (1984: 403), as a structure, the pattern of behavior in the society or
manuscript and text in literary work, for example form methodologically, can
be observed directly. As a structure, form can be transmitted from a group of
society to the other group of society, from a medium to the other medium.
Form could function in society, then on its tern will create meaning. On
its basis, meaning is produced indirectly, thus it cannot be improved through
the objective method originally. Due to Linton’s opinion above, form and
meaning are called as the static aspect. Meaning, for instance, practically is a
result of action, for example: medicine is a real form of medical treatment
(form). It is useful to cure a disease. Its function is to increase the body
resistance. Therefore, it gives meaning; its meaning is the patient becomes
healthy (Ratna, 2007: 119).
2. Functions:
According to Wellek and Warren (1962: 29), each thing functions
efficiently in accordance with its basis respectively. By the basis of
imagination and creativity, so the main function of literary work is for
evocating the ability of man in inspiring image about life. In social sciences,
50
concept of function can be traced through two social scientists, namely:
August Comte (1798–1853) and Emile Durkheim (1858–1917).
Firstly, by Comte (1798-1853) in his discussion about a study of
structure and process of social function, the society is as a life organism.
Herbert Spencer, then, developed this study, by performing a number of
similarities between society and organism. In art of music, Merriam (1976:
222–225) remarks that the music really functions in the life of society as art of
performance, the music must have minimal ten social functions. They are as
follows: (1) the function of emotional expression, (2) the function of esthetic of
feeling of expression, (3) the function of entertainment, (4) the function of
communication, (5) the function of symbolic expression, (6) the function of
physical reaction, (7) the function of organizing of social norms, (8) the
function of social organization acknowledgement consisted of religion, (9) the
function of cultural continuity, and (10) the function of social integration.
Secondly, France sociologist Durkheim in (Ritzer, 2003: 25–26) states
that the society is totality of organic with isolated reality. That totality has
elements with a certain function. If the function runs normal, it will be occurred
equilibrium, on the other hand, if it is not fulfilled so it will be occurred
pathology. Furthermore, Durkheim Language’s functionalism is developed by
Malinowski (14– 1942) and Radcliffe-Brown. Thus, they both consist of
functionalism figures. Malinowski develops functionalism theory in culture
through “Learning Theory” in which each cultural activity is caused by man
51
who wants to satisfy his/her instinct needs, as human needs. In America,
Talcott Parsons and K. Merton develop functionalism theory. According to
Parsons (Ritzer, 2003: 121) function is the collection of activities directed
toward fulfillment of a certain needs on the system needs. In order to exist, a
system must have four functions which are called as functional imperative,
these functions are also known as “AGIL Scheme”, among others are (1)
Adaptation,
(2)
Goal
attainment,
(3)
Integration,
and
(4)
Latency
(maintenance of pattern).
Semiotic theory explains the process by which meaning arises during
the perception and interpretation of sensory data. There are a number of
variations of the model; however, the semiotic triangle is probably the most
common. The semiotic triangle model include three elements: (1) a
perception of something that exists in the physical world, (2) an object or
concept to which the perception is said to refer, (3) a thought, image or
concept that is formed in the mind as a result of the perception and which
relates to the object. The semiotic triangle model is noticeably in the following
diagram: (Adopted from: http://rdillman.com).
52
Figure 1: The Semiotic Triangle Model
This relationship presents among the elements of the many signs that
human beings constantly encounter that forms the basis for the patterns of
meaning that develop in human communication. A number of semiotic
theoreticians, most notably, Saussure, Peirce, also Barthes, and Eco, have
developed models involving the use of signs.
3. Meanings:
According to Peirce (1960, I: 79), “meaning” is a triadic relation
between a sign, an object, and an interpretant. This triadic relation is not
reducible to a set of dyadic relations between a sign and an object or between
an object and an interpretant. Meaning is never reducible to Firstness or
Secondness, but can only be a “genuine” Thirdness. A general meaning can
always be found in “genuine” triadic relations, but can never be found in
“degenerate” triadic relations that have lost their Thirdness.
53
If we are talking about meanings as the understanding of transdiscipline, in applying the concept of semiotics, identification of an element of
phenomenon that becomes interest of a certain discipline automatically it can
be known back on a phenomenon in which becomes interest of other
discipline that uses the same concept of semiotics. This issue is seen clearly
in the books of semiotics. In fact, there are some variations in semiotics
approach used. Saussure and Peirce are two main resources experts from
the concepts of semiotics used. But, besides that, it is also used the ideas of
Hjemslev, Eco, Jakobson, Morris, and Barthes in giving the basic of theory of
argument, particularly who study literary text and religious text and also who
connects semiotic together with philosophy. From the perspective of literature
and religion study, Greimas is a source of idea accounted, while the
perspective of philosophy refers to Cassirer (1979) and Langer Suzane
(1971). Furthermore, there is an assumption that a study about meaning
automatically means a study of semiotics.
Through different kinds of approach, on its basic, it can be understood
that how meaning formed, developed, and varied in phenomenon are studied
by different kinds of oriented discipliners. Phenomenon that becomes focus of
study due to social structure is a traditional study of anthropology; visual art,
architecture, artifact and temple are studied by archeology; linguistics
cinematography and advertisements, interpretation and understanding of
verbal text are the object study of literature.
54
4. The Buginese
The Buginese are Southeast Asian people, numbering more than
three million, whose homeland is the Southwestern peninsula of Celebes
Island – Sulawesi in modern Indonesia. They belong to the great family of the
Austronesian people (Pelras, 1996: 1). He also remarks that Buginese society
is one of the most complex and apparently rigidly hierarchically of any in
Insulindia; and yet competition for office or wealth ranks high among their
motivations.
The Buginese occupy numerous regions in the province of South
Sulawesi. Sulawesi consists of big islands in Indonesia besides Sumatra,
Kalimantan, Java, and Irian. Sulawesi consists of six provinces; they are
South Sulawesi, South-east Sulawesi, West Sulawesi, Central Sulawesi,
Gorontalo Province, and North Sulawesi. The Buginese region in South
Sulawesi consists of the regencies of Bone, Wajo, Soppeng, Sidenreng
Rappang, Luwu, Luwu Utara, Pinrang, Pare-pare, and Barru. Five ethnics
occupy Makassar, as the Capital of South Sulawesi; they are Makassarese,
Buginese, Torajanese, Mandar, and Duri.
According to Jayanti (2009: 25) there are many external elements
which have permeated into almost entire all aspects life of people of Buginese
during the time enriching such as custom law, order of society, technology,
knowledge, folklore, entertainment, and art.
55
The Buginese are also dynamic and high mobile people, considered by
many to be the dominant group in South Sulawesi, but many of them have left
their homes, as wanderers, to find a better job or success and wealth in
another part of province all over Indonesia even abroad. Most of them make
their living by farming, fishing, breeding, teaching, businessperson, and
goldsmith. Typically, the Buginese who live in high lands earn their livelyhood
by working the soil, while those living in the coastal area as an angler, the
others who live in the city work as goldsmith, businessperson, and teacher.
The Buginese are also known because they have many written works
in manuscript form are still read and copied, exists alongside a rich oral
tradition that continues to thrive, and has produced one of the world’s major
epics, the “La Galigo”, which is longer than the “Mahabharata”. Besides that,
there are also some Buginese oral-texts in poetic form, kecapi songs, which
are full of cultural message of Buginese (Pappaseng). The Buginese who
become the object of this research is the Buginese of Sidrap.
Sidrap Regency is a place of this research. This area, BTS appear
together with kecapi (lute). Sidrap is a potential area for plantation. Therefore,
many symbols derived from plantation such as “Unganna Panasaē”. Sidrap
has the total width area: 1,3.25 Km²; 11 districts; 67 villages; 38 official
villages; 252,879 inhabitants (122,492 men and 130,387 women); and it has
93,749.57 Km² wide of fertile plantation (Panguriseng, 2008: 103 and 302).
56
Furthermore, the Buginese are also known by their neighbors for their
fierce character and sense of honor, which sometimes result in violence; and
yet they are among the most hospitable and amicable people. Moreover, the
most faithful in of a system of pervasive and interlocking clienteles; and yet
most of them have a strong sense of their individuality (Pelras. 1996: 4).
5. Kecapi and Songs
Firstly, “Kecapi” (lute) is one of the traditional picking musical
instruments notably the ethnic Bugis, who settled throughout some regency in
South Sulawesi. According to the history, kecapi found or created by a sailor,
so that, its shape is like a boat that has two strings. The origin of kecapi
strings are taken from his boat sail ropes.
According to Amin (2005) kecapi is the general term for the boat lute
instrument in South Sulawesi. Imitating the shape of the boat and having
close connection with maritime culture, the instrument is found in Buginese,
Makassarese, Toraja, and Mandar. In South Sulawesi the name differs
among the ethnic groups. Therefore, it is known as Kecapi Bugis, Kecapi
Makassar, and Kecapi Mandar. Kecapi instruments in these areas are used to
accompany the singer. Kecapi Bugis ensemble is played to accompany
narrative or non-narrative songs. Interestingly, the comic and acrobatic
movement from the kecapi player is part of the performance feature. In
addition to traditional style, there is also modern style or new creation began
57
in 1970 known as “Symphony” or “Kecapi Orchestra” consists of numerous
kecapis, flutes, drums and singers, the music is arranged in the idiom of
Western Music.
Secondly, “Song” is short metrical composition intended or adapted for
singing, especially in rhymed stanzas, a lyric, and a ballad. It is also a poetical
composition like poetry, the art or act of singing. It is a vocal music and a
musical piece adapted for singing or simulating in piece of lyric to be sung.
The selected chosen songs in this research are the Buginese
Traditional Songs. Traditional song is the song in which its lyrics derived from
or contains Buginese ancestral pappaseng, the form uses “Galigo Pattern” or
“Non-galigo Pattern”, such as “Putē Sassā”–Pure White and “Lima
Akkatenningeng Masse”–Five Strong Life Principles.
G. Local Wisdom
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
58
as the highest guidance for man behavior. The system of man behavior structure,
its level is more concrete like specific rule, customs and traditions, adat law, and
norms all of them are based on the guide of cultural value system.
Furthermore, based on the decree or formulation of Directorate of History
and Traditional Values (T.th. 35) about the limitation of cultural term comprises of
all abstract concepts about what is hoped, what is good or considered good by
the owner. That cultural value consists of the attention, interest, pleasure, will,
need, hope, denying and stimulant that become a framework in determining
attitude and action. Cultural value is reflected in mental attitude, moral, ethics,
behavior as well as the life-values to get in touch with fellow being/man, nature/
environment and his/her God.
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
59
“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 in English is equivalent to Indonesian
phrase “Kearifan Lokal” synonymous in Buginese “Pappaseng”.
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 occurr 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.
60
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 becoming a solution to the social
problem, they are facing. Their ancestor has bequeathed his “Pappaseng” to his
grandchild or to the next generations become more important for the existence of
their local wisdom. That local wisdom functions as a solution to the problems
appearing around them. Therefore, in some aspects, there may possibly appear
different kinds of local wisdom in local 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 wisdom, a cognitive principle believable and receivable by
their followers and considered right and valid. That culture is “Pappaseng” in
Buginese, “Ma’dara takkun” in Torajanese, “Budya Alus” in Java, wisdom that
can be used as a preventive action against corruption and tawuran in Indonesia.
One of the well-known Buginese ancestors who came from Sidrap is La
Pagala Nenek Mallomo who lived in the XVIII Century as a judge. He states his
Pappaseng to Buginese, especially the community of Sidrap and now becoming
an icon of Sidrap and motivation of working: “Resopatu Temmangingi Malomo
Nalētēi Pammasē Dewata” means, “Only by working hard and praying
continuously will yield God’s blessing”, in Galigo pattern.
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The local wisdom of Buginese is based on their philosophy of life so-called
“Siri’ na Pessē”. Siri’ is self-dignity and be shy not to do goodness, while Pessē is
having solidarity and empathy to all fellow men/creatures (Mattulada, 1975: 67).
The well-known Buginese ancestors who have conveyed their local
wisdom Pappaseng in adat law, government, and history are To Ciung ri Luwu
(Adat leader from Luwu) in XV century, La Tiringeng To Taba and La
Taddampare Puang RI-Maggalatung from Wajo in XV century. La Mellong Kajao
Laliddong from Bone in XIV century, La Pagala Nene’ Mallomo from Sidenreng
Rappang in XVI – XVII century, La Waniaga Arung Bila from Soppeng in XVII
century, Karaēng Matuaya from Tallo – Gowa in XVII, I Mangngadacingi Daēng
Sitaba Karaēng Pattingallowang (Gowa Frame Minister) in XVII century, and
Bonto Lempangan (Husain, 2009: 23).
In the history of Buginese Kingdom, five Buginese intellectuals are well
known, they are:
1. Kajao Laliddo comes from the Kingdom of Bone.
2. Nene’ Mallomo comes from the Kingdom of Sidenreng.
3. Arung Bila comes from the Kingdom of Soppeng.
4. La Megguk comes from the Kingdom of Luwu.
5. Puang ri Maggalatung comes from the Kingdom of Wajo.
All these Buginese intellectuals often have meetings to discuss and share
their ideas, experience, and way of thinking of the Buginese people to achieve
62
national goal, which includes the realization of the Buginese as a unity in politics,
culture, custom and traditions, laws, economy, government, and defense. One of
the famous meetings was held in Cenrana Sidrap that was attended by Kajao
Laliddo from Bone, Nene’ Mallomo from Sidrap, Puang ri Maggalatung from
Wajo, Topacaleppang from Soppeng, Maccaē from Luwu, and Boto Lempangan
from Gowa. In this meeting, Nene’ Mallomo presented his ideas about the laws in
Buginese Kingdom that becomes a principle that must be implemented in society
in order the society to become the society who are obedient of Adat Laws. That
principle becomes an agreement: “Naia Ade’ē Temmakkēana’ Temmakkēappo” it
means “all people are equal before the laws”; there is no differentiation between
children and grandchildren. They are also discussing “Pangadereng”–good
behavior in Buginese.
Furthermore, one of Nene’ Mallomo’s “Pappaseng” to the people of Sidrap
is “The people of Sidrap must have the character of “macca”–clever, “malempu”
–honest, “magetteng”–consistent, “warani”–brave, “mapato or rajin”–diligent,
“temmappasilēngeng
or
ādēlē”–fair,
and
“sipakaraja”–honor
each
other
(Panguriseng, 2008: 333). This must be the basis of life of Buginese and other
people to create a moral nation.
All the intellectual of Buginese have function to create local wisdom that
can be a principle of life in developing the kingdom/society to a better life. It is
known as “Pangadereng” consists of well behave and way of life, either in
household matters or the life of society. “Pangadereng” comprises “ade’
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mappasilasa” – a deed that creates check and balance. “Bicara mappasisau” –
the actions relieve the feeling of each other and the utterances that honor each
other. “Rapang mappasenrupa”–gives some examples. “Wari mappalaiseng”–it is
the ethics or the ways that can differentiate goodness and badness (Salim in
Panguriseng, 2008: 331).
According to Panguriseng (2008, 331), “Pangaderang” is a norm of
behaving to the same human being. It develops through many elements that
empower each other. It comprises ade’–customs, bicara–laws, rapang examples, wari–ethics, and sara–regulation of religoin. All of them strengthened
in philosophy of life “Siri” –self-dignity. All of these are based on the birth of local
wisdom or “Pappaseng”.
The local wisdom of Buginese or Pappaseng, besides it is derived from
Buginese ancestors it is also derived from “Galigo” and “Lontara’”. Galigo is a
written form of oral and written literature of Buginese that has 8, 7, and 6
syllables, while Lontara’ is old manuscript of written notes by using a specific
Lontara’ Alphabet in Buginese language. There are eight kinds of Buginese
Lontara’. They are as follows:
1. Lontara’ of astronomy.
2. Lontara’ of Pappaseng, local wisdom or principle of life.
3. Lontara’ of the King Descendant Family Tree.
4. Lontara’ of the Kingdom Agreement, Laws, and Government.
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5. Lontara’ of Medicine Prescription and Incantations.
6. Lontara’ of Folklore, history, and literature.
7. Lontara’ of “Ulu–ada”, Bilateral Agreement of two Kingdoms.
8. Lontara’ of advice.
At first Lontara’ was written on the leaves of lontara’-tree, later it was
written on the paper by Colliq Pujiē Arung Pancana Toa in Barru Regency in the
form of notebook in XVII – XVIII century. Lontaraq contains life wisdom values,
principle of life, law sources, history, and Buginese literature. Lontara’ also
contains concept of “Sipakatau” and “Pappaseng” in Buginese culture. In the
concept of Sipakatau, the human existence is “attitude or behavior” constructed
to Ade’-adat, Bicara-law, Rapang-rule, and Wari-ethic then embodied in “I” (aku)
restricted by “Siri” born so-called real-people (Tau-tongeng) as social creature
who appears as characterized people as well as glorious mind (Insan kamil)
(Husain, 2009: 95).
In fact, Pappaseng is a product of the last period and a guide or pointer
about the way of life to decide something ideal about how someone must lead life
to keep in touch with fellow being/man, nature/environment and his/her God.
Therefore, someone who always maintains his/her local wisdom will always be
highly respected in society. On the contrary, someone who does not obey his/her
local wisdom will suffer the consequences by him/herself. Thus, the cultural
values contained in Pappaseng can create a pattern of behaving in society. In
65
other word, Pappaseng can also give a set of pattern as the sample of behaving
in society like “Mabbulo sibatang” –unite, to unite in handling and settling all
activities and problems.
H. Conceptual Framework
The conceptual framework of this research is started from an idea that the
Buginese Traditional Songs (BTS) have three main dependent variables to be
discussed in this study. The first one is the cultural symbols and their significant
meanings that comprise things, plants, and terrestrials. The second one is the
aspect of values that comprise philosophy, religion, and social/humanity. The
third one is the cultural symbols that are still relevant to marriage, inauguration,
and political contexts. These three elements are interesting to be discussed in
this study. Those three phenomena will be investigated singly by the use of
semiotic theory, focusing on symbols. In addition, it is hoped that the result will
contribute us a description of partial characteristics of BTS. In fact, there are still
many aspects in BTS that can be investigated, but it is based upon the scope of
problems previously mentioned, the investigation focuses on those three main
dependent variables together with all independent variables found. This
conceptual framework is inferred in the following figure.
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BTS TEXTS
Identification of Signs
Local
Symbols
Qualitative Analysis of Semiotics
Symbols and Local Wisdom
Image
Diagram
Metaphor
Euphemism
Paradox
Irony
Metonymy
Exclamatory
Icon
Index
Cultural Values
Anti-corruption & Anti-Tawuran
Figure 2: Conceptual Framework
Symbol
67
I. Operational Definition
The following is the operational definitions due to several concepts or
technical terms with the aim to clarify the significant meaning in order to avoid
misinterpretation.
Addressee
The addressee is audience, listeners, readers, or devotee of the
song; notably Buginese Traditional Songs (BTS).
Addresser
The addresser is creator or author, writer, singers, or reciters who
transfer the message of the songs to the audience and listeners.
Alliteration The repetition of a sound, usually the initial sound is consonant.
Assonance
is a repetition of vowel sounds within non-rhyming words.
Consonance is the repetition of internal consonant sounds in nearby words the
harmony, congruity, or rhyme that occurs when vowels sounds differ.
Euphemism
is the statements that will not offend the feeling and thought of
anyone, avoiding the unpleasant or the impolite expression.
Metaphor states a fact by the use of comparison or an implicit comparison that
is made between two things essentially unlike. It generates meaning by
using analogies, explaining one thing in terms of another.
Paradox
is a statement containing apparently contradictory elements. A
statement seems contradictory or opposed to common sense. We can also
say, a statement that contains contradict reality occurred.