Kontes Sape Sono' Ratu Kecantikan Sapi
AFIFI, Moh, Dr. GR. Lono Lastoro S., MA
2007 | Tesis | S2 AntropologiOrang Madura dikenal sangat akrab dengan sapinya. Diceritakan bahwa lelaki Madura lebih baik berpisah dengan istrinya dari pada dengan sapinya. Kondisi ini tentu saja dibentuk oleh pelbagai faktor, salah satunya ekologi dan pertanian Madura. Pada umumnya, tanah Madura kering dan tandus. Oleh karena itu, kehadiran sapi di Madura sangatlah penting. Ia membantu petani dalam pengolahan sawah dan kotorannya dapat menyuburkan tanah. Untuk itu, orang Madura memperkenalkan jenis permainan kepada anak-anak mereka, pe sapean pappa, seperti jaran kepang, namun bahannya terbuat dari pelepah pisang. Di saat yang sama, orang Madura juga mempopulerkan dua jenis permainan untuk orang dewasa, sape sono’ dan sape karap. Dalam penelitian ini, saya lebih memfokuskan pada sape sono’. Untuk itu, saya meminjam konsep tatapan mata lelaki Mulvey di dalam menganalisis para penonton film di tahun 1930-an dan 1940-an. Mulvey, secara umum menggunakan psikoanalisis sebagai senjata politis yang menunjukkan cara, di mana ketidaksadaran partriarki telah menstruktur bentuk film Konsep ini, saya pinjam untuk melihat sape sono’, karena kedua-duanya bersifat antropomorfis, pengenaan ciri-ciri manusia pada binatang, tumbuhan atau benda mati, walaupun tentu saja ada perbedaan di antara keduanya. Antropomofis dalam sape sono’ muncul dalam perbincangan dan perdebatan sehari-hari. Oleh karena itu, saya menggunakan wawancara untuk mengungkap perbincangan sehari-hari mereka. Namun, ia dirasa kurang efektif, karena terlalu formal dan melelahkan. Solusinya, saya akhirnya hanya mendengarkan perbincangan mereka di warung kopi dan kemudian saya mencatatnya dalam catatan harian. Di samping itu, saya juga memanfaat observasi untuk mendeskripsikan tentang pertunjukan Dengan ini, saya lalu menemukan dua kesimpulan: 1) pelaksanaan sape sono’ dilaksanakan oleh paguyuban dan pemerintah. Beberapa paguyuban menolak untuk mengikuti kontes sapi sono’ yang dilaksanakan pemerintah dengan alasan masingmasing; 2) sapi betina, apalagi sape sono’ , seringkali dimetaforkan oleh laki-laki Madura sebagai perempuan Madura. Ini berbeda dengan karapan sapi, di mana lakilaki memetaforkan dirinya dengan sape karap. Gejala ini mengisyaratkan adanya keterbelahan dalam orientasi tontonan sapi di Madura – oposisi biner. Sape sono’ menyimbolkan keperempuan, sedangkan karapan sapi menyimbolkan kelelakian. Secara umum, masyarakat Madura berorientasi patriarki, sehingga seolah-olah, karapan sapi diistimewakan dan sape sono’ dipinggirkan. Namun, kenyataanya tidaklah demikian. Keberadaan sape sono’ malah menopang karapan sapi dan kelelakian Madura, karena setelah acara itu selesai, masyarakat Madura kembali ke struktur. Dengan demikian, sape sono’ hanyalah cara lain untuk melihat kelakian Madura.
Madurese people are well known with their closed relationship to their cows. It is said that a Madurese man prefer to break up with his wive rather than his cow. This condition is certainly constructed by various factors one of which is the ecology and the agriculture of Madura. In general, Madurese land is lack of water and dried. Therefore, the existence of a cow is very important in Madura. It helps the peasants in cultivating their lands as well as making them prosperious with the help of its faeces. For this reason, Madurese people introduced a number of game to their children such as pe sa pean pappa . This game is similiar to jaran kepang and it is only different from it in the sense that it is made of the banana bunch’s stem. On the same time, Madurese people also populerized two typical games for the adults, i.e. sape sono’ and sape karap (bull race). This reserach is focused on the sape sono’. Therefore, I borrow the Mulvey’s concept of men’s gaze in analyzing the film viewers in 1930 and 1940. Generally speaking, Mulvey uses a psychoanalitical approach as a political tool of showing how and when a patriarchal consciousness has structured the contend of the film. The reason why I use this concept of Mulvey in observing the sape sono’ is that both are antropomorphic, attributing human characteristics to animals, plants or things though there is off ourse a difference between both of them. The anthropomorphic of sape sono’ is apparent in the day-to-day discussion and debate. In view of this, I choosed interview as a method of raising up daily conversation of Madurese people. Nevertheless, this method is less efective since it is too formalistic and exhausting. To deal with this, I finally decided to merely listen to their converstion in a coffee shop and then wrote it down in my dairy. As an additon, I also use observation in putting a description of a performance. I found two important conclusions in this research. First, the performance of sape sono’ is carried out by an ascribed status-based social organization (paguyuban) and the government. Some of the former refused to participate in sape sono’ contest conducted by the government with their own reasons. Second, it is common that a female cow, particularly that of typical sape sono’, is metaphorically attributed by the men to the women. This is different from the case of kerapan sapi (bull race) wherein the men metaphorically attribute themselves to the cows of typical sape karap. This implies that there is a fragmentation in the orientation of bull performance in Madura—a binary opposition. While sapi sono’ represents the symbolization of femininity, karapan sapi that of maleness. In general, Madurese people are patriarchal in orientation because of which karapan sapi is given priority over sapi sono’ which is marginalized. Nevertheless, the case is different. The existence of sapi sono’ in fact supports karapan sapi and Madurese maleness since after the performance Madurese people are back to the structure. It assumes that sapi sono’ is another way how to look at Madurese maleness.
Kata Kunci : Orang Madura dan Sapi,Sapi Sono', sape sono’, man and women
