Abstract
This article aims to create dialog of “kidnapping the bride” reality in several studies and to construct the practice in reality. Discussion of “kidnapping the bride” practices in literature and cultural studies of Lombok intends to find contemporary Indonesian literary models of ethnic Lombok. To achieve this goal, this article applies Stuart Hall’s representation theory. In literary studies, “kidnapping the bride” is constructed as a critique of nobility. Sesak Cinta di Tanah Sasak novel construct “kidnapping the bride” as a criminal act. The meaning is constructed by Islamic discourse and tradition (nobility). Resistance to the discourse is what presents a romantic discourse. Romantic discourse, in the novel When Love Takes to Go, is constructed to fight against feudalism and capitalism. Romantic discourse in Opto Ergo Sum is a tradition discourse. The discourse is gathered from different voices, men’s and women’s voices. Women’s voice tends to be strong to the lid of the real world (in Ketika Cinta Tak Mau Pergi). Man’s voice rejects integration (in Opto Ergo Sum). Finally, the study of Sesak Cinta di Tanah Sasak and two other novels signifies a model for contemporary Indonesian literary studies. The model can be found by blurring the boundaries between Lombok cultural study and Indonesian literature.
Keywords
- practice of “kidnapping the bride”
- Indonesian novel Contemporer
- discourse
- Lombok (cultural studies)
1. Introduction
“Kidnapping the bride” of Sasak wedding practices puts as a record by the Ministry of Education and Culture as Lombok West Nusa Tenggara customs [1]. This practice is also supported by the government as a code of conduct of Sasak people [2]. Lukman [3] strengthens the position of “kidnapping the bride” in Sasak traditional culture. The practice of “kidnapping the bride,” from the independence era until
The practice of “kidnapping the bride” serves an important theme of the Indonesian novel Lombok. The theme is firstly portrayed by Nadira Khalid in the novel
Both novels represent the practice of “kidnapping the bride” differently.
Some studies [6, 7, 8, 9, 10] reveals that ethnic representation in contemporary Indonesian literary studies is assumed to be a local wisdom. These studies ignore the political movements of local people who at some stage are no longer local. Ethnic writers in the United States carry out social and political movements so that ethnic groups have important positions, both in literature and politics [11]. Lombok experiences this situation. From independence until the early reformation era, Lombok is led by a governor from Java. It is only in 2003 that the native son is elected as governor. Sasak ethnic identity has begun to emerge in the 2000s. The Indonesian literary production of Lombok is part of an ethnic revival to sound Sasak cultural identity.
Indonesian Literature of Lombok emerges as a meeting point of two studies, namely Lombok studies and contemporary Indonesian literary studies. Novel
2. Methodology
This article applies Stuart Hall’s representation theory. Hall’s representation theory serves to theorize the practice of Lombok Sasak “kidnapping the bride.” It accommodates the context of contemporary Indonesian literature with Lombok as its ethnic issue. This practice also delivers a sign and a discourse. As a sign, “kidnapping the bride” is constructed as semiotic analysis in the novel. As a discourse, “kidnapping the bride” is constructed academically by several studies. The novel serves as primary data source while some studies of “kidnapping the bride” and discourse about Lombok supplies secondary data sources. The first data source is in the form of lingual units in the form of sentences or paragraphs that provide information about the practice of “kidnapping the bride.” The second data source is in the form of discursive statements from several studies of “kidnapping the bride” and Lombok. The data source delivers the perspective of Sasak people living in the Sasak culture of Lombok. The first and second analysis applies semiotic analysis and discourse. The analysis conveys the experience of researchers as Sasak people taken from the researcher’s experience. The meaning of “kidnapping the bride” in a novel is as a dialog in academic discourse.
3. Discussion
3.1 Running away in literary studies, cultural studies, and Islamic (law) studies
The “kidnapping the bride” study conducted by Wijaya [13] and Zuhairini [14] positions “kidnapping the bride” as a culture that needs to be criticized. Both interpret
In cultural studies, the practice of “kidnapping the bride” was conceptualized as a result of acculturation of Sasak and Bali [15]. “Kidnapping the bride” is not a native Sasak culture, but acculturation with Balinese culture [4]. Therefore, the development of sees “kidnapping the bride” experiences codification with Islamic and state law. Lukman [16] sees “kidnapping the bride” from a legal perspective. According to him, there are three laws in the “kidnapping the bride” tradition, namely religious, customary and state law ([16], 427). In the perspective of Islamic law, Basriadi [17] reviews marital law of different classes, aristocratic women with non-aristocratic men, not contrary to customary law. If in practice, there are parents who do not want to marry off their children to men of different classes, then the bride and groom are married by the guardian of the judge. Aminullah [18] explaines that the practice of “kidnapping the bride” has been modified, for example in the tradition of drinking alcohol in the process of collusion. Mahayanti [19] sees the tension of Islamic law and customary law in terms of giving
3.2 “Kidnapping the Bride” Discourse
Krulfeld [20] distinguishes Sasak society based on the type of religiosity.
Asnawi [27] emphasizes the position of the teacher as a refinement of Islamic teachings. Tuan Guru becomes the main agent of the acculturation of Islamic values in the Sasak culture [28]. The important position of
3.3 The Noble “Tuan Guru” in Sesak Cinta di Tanah Sasak Novel
This novel presents a noble man and
As time passes from so many choices of Mamiqnya, Raihan is proposed by young nobles from the village of Gede. Handsome, handsome, smart young man. It is reported that the son of a
In Lombok culture,
3.4 Betrayed love
Raihan is forced to choose and accept an arranged marriage with Lalu Said. The choice is taken in order to maintain the honor of his family. That choice is a manifestation of Raihan’s disdain for her love for Habib. In order to maintain that honor, Raihan choses to betray Habib’s love, an ordinary man,
“Look, sir, if we want to make peace with our family, this father as Habib’s parents, must take responsibility for several legal agreements, and sanctions if they are violated. Then, Raihan is asked to tell about her journey, but it is strange to Habib that what is told. It cannot help him to get out from the legal problem, because Raihan’s testimony is not in favor of him, in the love they were fighting for. Shed tears of sadness. How have our fathers heard the confession of this girl, then is there anyone capable of defending Habib? “That’s not right sir, that’s wrong, everything she says is her parents’ orders. “.
“Calm down!” The policeman snapped.
“Sir! How about the word peace we have discussed earlier, “asked his father. “Hearing all the stories and confessions of our girls is enough to get here and we don’t need peace money from you guys!”
“Alright sir, whatever the responsibility I am ready, even though I have to be in jail.
Raihan gives false testimony, so the act of carrying Raihan serves as a criminal act. Though both of them agree to elope to avoid arranged marriages Raihan with Lalu Said, the son of the noble
Raihan’s love for Habib is now a mere lie that he must throw away in his mind. However, all that is useless, it’s so hard for him to just forget it all. The betrayal of love and disappointment he gave is the most beautiful gift that is sweet at first, then bitter at the end. His best friend Nasir visits him that afternoon after a few days ago came to him. This time Nasir arrives early. From the jail, Habib comes out in a white prisoned costume bearing number 07. The iron door is opened by officers then Habib comes out with a listless face ([34], p. 49).
The quote shows that Habib finally becomes a prisoner. His love has taken him to prison. The love he believes has become a lie. Betrayal love is the most beautiful gift, because that’s all that’s left. After the disappointment there is no chance to change the betrayal. What remains is memories. Betrayal is not without consequences for Raihan himself. Both are imprisoned. Habib is imprisoned in the jail and Raihan is imprisoned by tradition. Both prisons are equally limiting their actions. But the prison occupied by Raihan is a prison of eternal tradition in his life. The prison that is occupied by Habib is a prison that has physical strength, while Raihan is a prison that has power that is not only physical. Faruk [37] called it a prison because of formal normative or ethical legal issues, while the prison occupied by Raihan is cultural and philosophical because it involves the suppression of freedom of choice. Habib can only come out after he has lived according to established rules, while Raihan can only get out of traditional prison after his family dies and his marriage ends in divorce.
Her face is covered with sorrow, her thin body told a bitter truth. She sits not in her husband’s bed, she does not live in her in-laws’ house but she is in her house. Raihan is now veiled in gloom, she returns to her umma while her mother has passed away for a year. She returned home with full of regret and accepted his new status as a widow, lying. Guilt and betrayal of love still make an impression in her heart. Her beauty is faded even though there are still beautiful lines on her face. The blue eyes look sad, while his heart continues to whimper with prolonged injury ([34], 66).
Raihan divorces her husband because she is unable to give her husband offspring. Raihan is widowed. Her widowed status is unable to get her out of suffering. She still feels hurt, sorry, and guilty. Her disdain for Habib still leaves an imprint on her heart and hurt him all his life before he received an apology from Habib. Her injured heart is followed by shortness of breath and lung cancer. She dies after meeting with Habib.
Shortness of breath and cancer undermines her lungs, Raihan is only able to lie on the bed, breathing hard. Ummi in surrender faithfully goes side by her side. While being close to her death, the verses of the Koran from the Surah Yasin continue to be recited by her family and close relatives. Her curling eyelashes look wet as she endures pain, the patient and faithful rays of her face radiate happily in the arms of her beloved Habib. The howling sound of dogs gripped together with a smile that finally silenced then the tired body stiffened. Her mom cries helplessly staring at her only daughter silently without a sound.
Raihan visits to the divine in accordance with her promise. She passes away after meeting with Habib. The meeting is at once a farewell for both.
3.5 “Kidnapping the bride” discourse in Sesak Cinta di Tanah Sasak Novel
“Kidnapping the bride” done by Habib and Baiq Raihan is not a custom event, but an abduction event. Therefore, “kidnapping the bride” is a criminal case. The novel positions this practice as a criminal act. Raihan is a victim and a witness who confirms that Habib kidnappes her. Though they love each other and they make the decision to do this practice together. If the novel positions Raihan in favor of Habib, then “kidnapping the bride” is a process of the Sasak wedding tradition. Habib is put in jail for kidnapping. Raihan testifies that she is kidnapped.
3.6 Lombok Indonesian literature: A study in Indonesian literature
Indonesian literature as a scientific discipline develops several paradigms in its studies of Indonesian literary works. The study of Indonesian literature in the 1990s to 2000s was dominated by structuralism [38]. Supriyadi saw the tendency of Indonesian literary studies at two universities, namely Gadjah Mada University and the University of Indonesia. Both universities represent the paradigm of Indonesian literary studies. Faruk [39] offers several paradigms in the study of Indonesian literature, for example humanist literary criticism, structuralist literary criticism, post-structural literary criticism, post -amarxist literary criticism, cultural studies and critical approaches. Faruk offers these paradigms in the context of providing various possible paradigms in Indonesian literature. The paradigm is born from literary studies which at a certain level becomes a paradigm.
The paradigm in Kuhn is a model [40]. Ahimsa-Putra distinguishes paradigms and models. For Ahimsa-Putra [41], the model is part of the paradigm. The model is defined as a parable of the object [41]. Both can be used to formulate contemporary Indonesian literary study models. In the context of combining the concepts of Kuhn and Ahimsa-Putra, Saukko’s concept provides an alternative. Saukko [42] offers four paradigms in cultural studies, namely triangulation, prisms, semiotic material, and dialog. All four applies different metaphors to describe reality. Saukko’s concept can be used to see models in contemporary Indonesian literature.
Romantic discourse in the novel
Romantic discourse comes from a different sound. The first is a female voice and the second and third is a male voice. Women’s romantic discourse tends to unite, while men’s romantic discourse tends towards separation and unification. The study of the Indonesian novel Lombok in the third case of the Lombok novel is a model of contemporary Indonesian literary studies. The model can be used to see how ethnic representations in contemporary Indonesian literature with different ethnic cases.
Studies in
4. Conclusion
The meaning of “kidnapping the bride” as dominant discourse of Lombok represents Islamic context. “Kidnapping the bride” practice in Islamic and State perspective positions as a tradition which needs to adapt with Islamic and state law. The meaning of “kidnapping the bride” in
The practice of “kidnapping the bride” is commonly discussed in contemporary Indonesian literature.
Acknowledgments
This article is part of my dissertation; therefore, I would like to express my great gratitude to the Directorate of Research and Community Service, Directorate General of Strengthening for Research and Development, the Ministry of Research, Technology and Higher Education who has funded this dissertation research.
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