The Presentation Form, Function, and Meaning of the Ma’badong Tomakaka Music Lyrics in the Rambu Solo Ceremony of the Toraja Tribe
Article Sidebar
Main Article Content
Abstract
This research aims to describe the form of presentation, function, and meaning of Ma'badong Tomakaka music verses in the Rambu Solo traditional ceremony of the Toraja tribe. This research uses a descriptive qualitative method with an ethnomusicology approach. Data collection techniques include direct observation, interviews with sources, documentation, and literature study. Data analysis was done through data reduction, presentation, and conclusion drawing. The results showed that Ma'badong music is a traditional vocal art performed without musical instrument accompaniment in melting at formation. The singers are called Pa'badong. Ma'badong performances are held in open areas such as fields or courtyards during the day and night. A red and black shirt or t-shirt top using a Toraja woven sarong is the costume often used for Ma'badong performances. The gradual procession starts from Ma'tabe, Issi, to Ma'passundun. This music serves as a medium of ritual, entertainment, cultural identity, means of communication, and aesthetic expression in Toraja society. The poetry of Ma'badong or Kadong Badong contains deep meanings, such as moral messages, expressions of grief, prayers for the spirits to the afterlife, and hopes for the families left behind.
Article Details
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
References
Abdurahim, T. (2015). Makna Biaya dalam Upacara Rambu Solo. Jurnal Akuntansi Multiparadigma, 6(2), 175–184. https://doi.org/10.18202/jamal.2015.08.6014
Adolph, R. (2016a). Bunga rampai. 1–23.
Adolph, R. (2016b). PENYAJIAN LAGU BADONG INDO’ DALAM RITUAL MA’BADONG PADA UPACARA RAMBU SOLO’ DI LEMBANG SARAPEANG, KECAMATAN REMBON, KABUPATEN TANA TORAJA. 1–23.
Andani, A. F., & Lutfiati, D. (2017). Tata Rias dan Kostum Karakter Nyonya Lovett dalam Opera Sweeney Todd Produksi Teater Sendratasik Universitas Negeri Surabaya. Jurnal Tata Rias, 6(1), 59–65.
Berthin Simega, & Benyamin Bongga Matalangi’. (2021). Makna Simbolik Kadong Badong Pada Upacara Adat Rambu Solo’ (Tinjauan Semiotik). DEIKTIS: Jurnal Pendidikan Bahasa Dan Sastra, 1(2), 260–265. https://doi.org/10.53769/deiktis.v1i2.490
Eddy, P. (2005). Ritual.
Eko Raharjo. (2007). Musik sebagai media terapi. Harmonia Journal of Arts Research and Education, 8(3), 1–13.
Handayani, N. (2020). Aransemen Musik Sebagai Bentuk Ekspresi Penyembahan dalam Ibadah. September, 2020.
Hasbi, Pulubuhu, D. A. T., Radjab, M., Rahman, A. H. A., & Haris, A. (2019). The social meaning of Rambu Solo ceremony in Toraja (The perspective of symbolic interactionism theory). Journal of Social Sciences Research, 5(3). https://doi.org/10.32861/jssr.53.778.781
Kristianto, I. (2019). Kesenian Reyog Ponorogo dalam Teori Fungsionalisme. Tamumatra: Jurnal Seni Pertunjukan, 1(2), 69–82. https://doi.org/10.29408/tmmt.v1i2.xxxx
Lumbaa, Y., Mukramin, S., & Damayanti, N. (2023). Kearifan Budaya Lokal Dalam Ritual Rambu Solo ’ di Toraja. INNOVATIVE: Journal of Social Science Research, 3(3), 4849–4863. http://j-innovative.org/index.php/Innovative/article/view/2407
Maulana, I., Suryati Budiwati, D., & Karwati, U. (2022). Kajian Organologi Alat Musik Tradisional Canang Ceureukeh. SIWAYANG Journal: Publikasi Ilmiah Bidang Pariwisata, Kebudayaan, Dan Antropologi, 1(4), 163–178. https://doi.org/10.54443/siwayang.v1i4.409
Nur Vita Dinana. (2004). Semiotika Roland Barthes. Essay, 76. https://www.kompasiana.com/juno_naro/5d929a4f097f3603e006d912/semiotika-roland-barthes
Patandean, M., Kuasa Baka, W., Hermina, S., Lisan, J. T., Budaya, I., & Oleo, U. H. (2018). Tradisi To Ma’ Badong Dalam Upacara Rambu Solo’ Pada Suku Toraja. In LISANI: Jurnal Kelisanan, Sastra, dan Budaya (Vol. 1, Issue 2).
Patandung, S. laharti. (2016). NILAI KEARIFAN LOKAL PERTUNJUKAN MA’BADONG DALAM RITUAL UPACARA RAMBU SOLO’ DI KABUPATEN TORAJA UTARA. 01, 1–23.
Purwacandra, P. P., & Nainggolan, O. T. P. (2019). Sampling Suara Instrumen Musik sebagai Strategi Peningkatan Hasil Belajar Mahasiswa dalam Pembuatan Film Scoring. Rekam, 15(1), 61–70. https://doi.org/10.24821/rekam.v15i1.3232
Rachman, A. L. R. M. M. A. (2018). Pengembangan Kesenian Kempling Sebagai Upaya Pelestarian Di Desa Wisata Kandri Kota Semarang. Indonesian Journal of Conservariation, 7(1), 1–14.
Sambira, Z., & Kristanto, A. (2020). Paradigma Pendidikan Seni Berbasis Karakter. Tonika: Jurnal Penelitian Dan Pengkajian Seni, 3(1), 15–26.
Sambira, Z., Wadiyo, W., & Syakir, S. (2020). Presentation of Ma’badong Music in the Context of Social Action in Lembang Gandangbatu. Catharsis: Journal of Arts Education, 9(2), 146–154. https://journal.unnes.ac.id/sju/catharsis/article/view/44526/18097
Sihabuddin, S., Itasari, A. A., Herawati, D. M., & Aji, H. K. (2023). Komunikasi Musik: Hubungan Erat Antara Komunikasi dengan Musik. Translitera : Jurnal Kajian Komunikasi Dan Studi Media, 12(1), 55–62. https://doi.org/10.35457/translitera.v12i1.2679
Sri Astuti, Valentinus Ola Beding, H. (2021). Analisis Pesan-Pesan Syair Nasihat Pada Video Syair Lagu Melayu Nusantara. Angewandte Chemie International Edition, 6(11), 951–952., 119(4), 361–416.
Syakhrani, A. W., & Kamil, M. L. (2022). Budaya Dan Kebudayaan: Tinjauan Dari Berbagai Pakar, Wujud-Wujud Kebudayaan, 7 Unsur Kebudayaan Yang Bersifat Universal. Journal Form of Culture, 5(1), 1–10.
Tendenan, V. (2024). The beauty of sorrow : A theological aesthetic based on the Ma ’ badong. 246–261.
Wahyudin, U. (2019). Fungsi Gamelan Degung Dalam Ibadah Minggu di GJKI Motekar Jambudipa Bandung Barat. Jurnal Paraguna , 6(1), 97–109. https://jurnal.isbi.ac.id/index.php/paraguna
Yudarta, I. G., & Pasek, I. N. (2015). Revitalisasi Musik Tradisional Prosesi Adat Sasak Sebagai Identitas Budaya Sasak. Segara Widya : Jurnal Penelitian Seni, 3. https://doi.org/10.31091/sw.v3i0.175