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Tau-tau dan ritual: fungsi dan makna dalam upacara pemakaman kaum bangsa toraja

"ABSTRACT

This dissertation discusses tau-tau as one of the funeral equipment (mmbu solo?) for

the Torajan noble society (lana' bulaan). Tau-tau is a ?statue? of a deceased person.

There are 3 kinds of tau-tau: tau-tau nangka', tau-tau lampa?, and batelepong. After a

funeral, only tau-tau nangka is placed on top of a cliff, alongside other previous tau-tau

nangira, while tau-tau lampa and batelepong are thrown to the shrubs.

At first, tau-tau was worshiped and mourned by the Aluk to Dolo Torajan family and

community, but as the Torajan people left the Aluk to Dolo belief and most change

their belief to Christiani or some change to Islam, tau-tau is no longer worshiped and

mourned, but used to maintain and reinforce nobility. Therefore, tau-tau Aluk to Dolo

rituals are modified according to the belief of a family who practice the ritual.

The phenomenon mentioned above is a general picture and a small part of tau-tau's

existence and rituals in the past to present. Therefore, it is interesting to study it further;

although Aluk to Dolo belief is gradually left behind by the Torajan people, almost all

the principles are still practiced in various rituals, to maintain custom and tradition in

Torajan.

This research's question is how the Torajan community conducts funeral where tau-tau

is still made as a symbol of Torajan's nobility (although they do not practice Aluk to

Dolo), and the use of it in social life and rambu solo'ritual which are conducted by

Torajan Aluk to Dolo community and modern Torajan community.

This research uses Radcliffe-Brown's structure and function concept (1952), Durkheim

(1954), Turner (1957, 1974), who suggest that religion reflects the structure of a social

system, and functions to maintain the system throughout time. Structure and function concept sees the community as a system of social structures. Structure in this case is

real pattems of relations or interactions among various social components - pattems

which relatively last longer because those interactions occur in an approximately

organized way (Saifuddin, 2009. The function of religion is an effort to strengthen and

reaffirm social solidarity, and as something that has a signilicant symbol to a group or

community. The existence of tau-tau?s function and meaning which continuously

changed and modified (no longer suitable with Aluk to Dolo), is an indication that the

tau-tau they made no longer has a sacred meaning.

Findings in this research are: 1) Tau-tau is a personification, regarded as a reincarnation

and the residence of the deccased?s spirit after a series of Aluk to Dolo ceremonies.

Tau-tau is accepted as a depiction of the deceased, not only shaped by association of

costume and ritual which affirms tau-tau as a ?reincarnation? of the deceased, but also

caused by the positive response from Torajan conununity which submits to and accepts

the lau-tau and considers it resembles, even similar to the deceased. This made tau-tau

is highly respected and worshiped by the family and Torajan community in general, as

if the person is still alive. 2) Tau-tau represents nobility. This is because the making of

tau-tau is based on social stratification in Aluk to Dolo, which is still held firmly by

Toraja community up until now. Tau-tau as a representation of nobility also shows in

how attributes, costume, and how the costume is worn by tau-tau. For example, the

headband (passapu) on men, chignon (simbolon) on women, clothes (bayu), knee-

length trousers (seppa tallu buku), sarong (dodo), puch to store betel and nut (sepu).

In daily life, only noble society is allowed to wear the costume, while common people

are not allowed to.

Conclusion: The outcome of this research shows that the production of tau-tau as one

of the funeral equipments in Toraja?s noble families up to this day, has a close relation

to an elfort of reaffirmation and reconfirmation in group solidarity, and has a significant

symbol in the families' social status in many ways, particularly in ceremonies where it is

very respected by the Toraja community. The existence of tau-tau in a Toraja's noble

family funeral was a part of a religious ritual, Aluk to Dolo. Therefore, it is not easy for

a noble to remove a habit of making a tau-tau or a statue portraying a deceased person,

even though they have left Aluk to Dolo belief.

Therefore, there are different kinds of tau-tau that consist of: 1) Original tau-tau (tau-

tau Aluk to Dolo). It has a simple shape, not proportional, and entirely different from

the deceased, placed at the funeral site, a spirit is believed to reside in the tau-tau, and

is sacred. 2) Realistic tau-tau (Christian tau-tau). ldeal in shape and proportion, and

resembles the deceased, placed at the funeral site, and profane. 3) Portrait statue. The

shape, proportion and its style consider more on the artistic value to replicate the

deceased, and placed in houses as an artwork. 4) Souvenir tau-tau. Made with various

shapes, sizes, and materials, and sold around the funeral site and souvenir stores in

Rantepao and Makale."

2007

D819

UI - Disertasi Membership Universitas Indonesia Library

Jafar Fakhrurozi

Tradisi lisan gaok majalengka fungsi makna dan proses pemertahanannya di tengah perubahan masyarakat pendukungnya = Gaok oral tradition in majalengka function meaning and survival process its changing of community

"[ABSTRAK

Tesis ini merupakan penelitian mengenai tradisi lisan Gaok di Majalengka.

Penelitian ini bertujuan untuk mengungkapkan fungsi dan makna Gaok bagi

kehidupan masyarakat Kulur Majalengka serta proses pemertahanan Gaok yang

dilakukan dalang Rukmin. Sumber data diperoleh dari data lapangan dan studi

pustaka. Penelitian menggunakan beberapa konsep dan teori pertunjukan tradisi

lisan, kelisanan, teori struktural Propp dan pengelolaan tradisi lisan.

Metode penelitian menggunakan metode etnografi (salah satu pendekatan

Kajian Tradisi Lisan). Hasil penelitian menunjukan bahwa Gaok memiliki makna

dan fungsi bagi masyarakat Kulur Majalengka. Fungsi Gaok bagi masyarakat Kulur

meliputi: fungsi hiburan, media doa, dan fungsi penjaga nilai-nilai pendidikan.

Makna Gaok meliputi: Representasi nilai-nilai spiritualitas, Representasi nilai

perempuan, representasi tradisi riungan dan pesta makanan, representasi norma

hukum, dan representasi sejarah Majalengka.

Sedangkan upaya pemertahanan dilakukan oleh dalang melalui kreativitas

membuat Giok kombinasi, mengelola sanggar, dan menyimpan wawacan. Namun

demikian upaya tersebut berjalan kurang optimal karena keterbatasan kemampuan

dan dana yang dimiliki Rukmin serta kurangnya dukungan dari pihak eksternal yakni

pemerintah dan masyarakat. Akibatnya proses transmisi dan pewarisan melalui

pengajaran terhadap generasi muda tidak berjalan.

ABSTRACT

This thesis indicated a research about Gaok 's oral tradition in Majalengka. The

research aimed to disclose a function and Gaok's meaning for society life of Kulur,

Majalengka. As well as the survival process of Gaok which was done by "dalang"

(the master) Rukmin. Data sources was obtained by field study and literary study.

This research used various of concepts and the theories of oral tradition performance,

orality, Propp structural theory and the management of oral tradition.

The research method used ethnography method (one of the approaches of Oral

Tradition Study). The research result showed that Gaok had meaning and function for

Kulur society. The function were: entertainment,praying media, as well as for

keeping education values. The meaning of Gaok were: Representatives of spiritual

values, Representatives of women values, Representatives of "Riungan" tradition and

meal party, Representatives of law values, Representatives of Majalengka's History.

The effort to converse was done by "dalang" Rukmin through the creativity of

rrraking combination of Gaok, managing a Sanggar (club) and saving wawacan

(texts.) However those efforl was not optirnal enough due to the lirnitation of ability

and fund which was owned by Rukrnin and lack of support from external sides

namely government and society. As a result, transmission process and inheritance

through teaching to young generation were not carried out.;This thesis indicated a research about Gaok 's oral tradition in Majalengka. The