SAKECO SUMBAWA Kajian Fungsi Seni Pertunjukan Tradisi Lisan

MUHAMMAD SALEH,M.A., Prof. Dr. Heddy Shri Ahimsa-Putra, M.A., M.Phil ;Dr.G.R. Lono Lastro Simatupang, M.A.,

2016 | Disertasi | S3 Antropologi

Disertasi ini berjudul Sakeco Sumbawa: Kajian Fungsional Seni Pertunjukan Tradisi Lisan ditujukan agar dapat menjelaskan keberadaan sakeco dalam kehidupan sosial budaya dan ekonomi masyarakat pemiliknya. Atas dasar itu, penelitian ini berupaya memperjelaskan dua hal. Pertama, apa ciri-ciri seni tradisi lisan sakeco Sumbawa. Kedua apa fungsi seni tradisi lisan sakeco bagi masyarakatnya. Metode penelitian yang digunakan yaitu deskripsi kualitatif etnografi, dengan sumber data berasal dari pelaku seni sakeco (tau sakeco), dan masyarakat pemiliknya (rama peno). Pengumpulan data ditempuh melalui serangkaian proses near experience, dengan cara datang ke lapangan, dilakukan secara emik. Untuk menggali data seni tradisi lisan sakeco ini dilakukan dengan teknik partisipant observation dan indepth interview. Penelitian ini berpijak pada paradigma fungsional-struktur AR. Radcliffe- Brown dalam menganalisis data, dan memerlukan juga dukungan serta konsep disiplin ilmu lainnya seperti teori Folklore, sejarah, sosiologi dalam mendiskripsikan secara mendalam (thick description). Hasil penelitian menunjukkan bahwa seni tradisi lisan sakeco merupakan bagian dari folklore lisan (verbal folklore) dengan ciri-cirinya berbentuk terikat (fix phrase), menggunakan formula, dipertunjukkan, anonym, diwariskan dari generasi ke generasi berikutnya melalui lisan (mulut ke mulut), milik orang Sumbawa (tau Samawa), ada pelestariannya, berkembang dalam masyarakat bercorak desa, interpolasi (interpolation), mempunyai kegunaan (function), lawas-lawasnya dianggap suci (sacred), pengucapannya disampaikan dalam irama (temung), menggunakan bahasa sehari-hari dan kiasan. Memahami seni tradisi lisan sakeco sebagai produk budaya (tekstual) memiliki formula: (1) menyusun sakeco didalamnya berisisi formula lawas, cerita (tuter), dan humor (racik); (2) menembangkan sakeco didalamnya berisi formula arik, do intan e, nanta gantuna, sendang dang kagandang, dan baralok. Sedangkan sebagai peristiwa budaya dalam kehidupan masyarakat (kontekstual) memiliki fungsi diantaranya sebagai; (1) fungsi budaya; spiritual dan mendapat keselamatan (krik selamat), bayar nazar, pengobatan, alat pendidikan, sistem proyeksi, dan mempertahankan harga diri (Illaq); (2) fungsi sosial; identitas sosial, resiprositas (basirru), legitimasi status sosial, konstruksi identitas perempuan, tontonan dan hiburan; (3) Politik; kritik sosial, alat propaganda, pesan politik; (4) ekonomi; sebagai pekerjaan (pamuya). Hal inilah yang mendukung sakeco dalam perkembangannya secara internal dan eksternal mempunyai kontribusi sangat besar terhadap perubahan dan perkembangannya dalam kehidupan sosial pemiliknya dimana seni tradisi lisan sakeco tetap bertahan seiring dengan perkembangan zamannya. Bahkan muncul generasi-generasi baru memodifikasi seni ini menjadi lebih menarik. Inilah yang menjadikan sakeco sebagai salah satu indentitas sosial orang Sumbawa (tau Samawa).

The title of the dissertation was Sakeco Samawa: Kajian Fungsional Seni Pertunjukan Tradisi Lisan and the dissertation was to explain the existence of sakeco in the social-cultural and economic life of the community who owned the tradition. Based on the statement, the study was to clarify two things. First, what were the characteristics of sakeco Sumbawa verbal tradition art. Second, what were the functions of sakeco verbal tradition art for the community. The method that the researcher made use of was the etnographic qualitative description and the data source was the actor of the sakeco art (tau sakeco) and the possessing community (rama peno). The data gathering was conducted through a series of near experience process by performing field visitation emiccally. In order to find more data regarding the sakeco verbal tradition art, the researcher also performed the participant observation and the in-depth interview. The study departed from the functional-structural paradigm proposed by AR. Radcliffe-Brown in the data analysis and the study also demanded supports as well as concepts from the other disciplines such as the theories of folklore, history and sociology in order to attain the thick description. The results of the study showed that the sakeco verbal tradition art had been the part of verbal folklore with the following characteristics: sakeco verbal tradition art had fix phrase, sakeco verbal tradition art made use of formula, sakeco verbal tradition art had been performed, sakeco verbal tradition art had been anonymous, sakeco verbal tradition art had been inherited from one generation to another verbally, sakeco verbal tradition art had been possessed by the Sumbawan people (tau Samawa), sakeco verbal tradition art had conservation, sakeco verbal tradition art had been developed in the community of villagers, sakeco verbal tradition art had interpolation, sakeco verbal tradition art had function, the lawas of sakeco verbal tradition art had been considered sacred, the pronunciation of sakeco verbal tradition art had been done by means of rhymes and sakeco verbal tradition art made use of daily language and connotations. As a cultural product (textual understanding) the sakeco verbal tradition art had following formula: (1) arranging the sakeco that contain the formula of lawas, story (tuter) and humor (racik); and (2) singing the sakeco that contain the formula of arik, do intan e, nanta gantuna, sendang dang kagundang and baralok. On the other hand, as a cultural event in the community life (contextual understanding) the sakeco verbal tradition art had the following functions: (1) the cultural function, which referred to the efforts of attaining spirituality and protection (krik selamat), fulfilling oaths, performing medication, serving as educational means, serving as projection system and defending the self-esteem (Illaq); (2) the social function, which referred to the efforts of showing social identity, showing reciprocity (basirru), showing the legitimation of social status, showing the construction of female identity and serving as entertainment; (3) the political function, which referred to the efforts of serving as social critiques, serving as means of propaganda and conveying the political messages; and (4) the economic function, which referred to the efforts of serving as occupation (pamuya). The two understandings were the main aspect that support the sakeco verbal tradition art in its development internally and externally and the two understandings had a big contribution toward the change and the development in the social life of the possessing community in which the sakeco verbal tradition art had been surviving along the century. In fact, there had also been new generations that modified the art in order to be more interesting. Such dynamic had made sakeco as one of the social identities that the Sumbawan people had (tau Samawa).

Kata Kunci : Sakeco, Fungsional-struktur, Tau Samawa ,sakeco, functional-structural, Tau Samawa