<![CDATA[This study investigates the structural forms, classifications, and sociocultural functions of parallelism within the traditional ritual speech (koda kiri hode ina rimu ama gaya) performed during wedding ceremonies in the Solor-Lamaholot community of Balaweling, Solor Island, East Flores. To guide this investigation, the study addresses three primary research questions: (1) What are the parallel expressions used in ritual speech of Solor-Lamaholot wedding ceremonies? (2) What types of parallelism do the expressions belong to? and (3) How do these parallelism structures function linguistically and culturally within the ritual context? Operating within a qualitative descriptive method using an ethnographic approach, data were gathered from six purposively selected participants including traditional elders (tua adat), community elders, and younger community member through participant observation, audio-visual recordungs of actual customary wedding proceedings, in-depth demi-structured interviews, and documentation review. The collected data underwent transcription and translation, linguistic classification, and thematic coding, with data reliability ensured through triangulation, member-checking, and thick description while adhering to strict ethical considerations such as informed consent and cultural sensitivity. The analysis draws primarily upon Roman Jakobson’s (1960) theory of poetic function and James J. Fox’s (1988) framework of Austronesian ritual language and binate semantics. The findings reveal that Solor-Lamaholot wedding ritual speech is structured through three dimensions of parallelism: (1) Semantic Parallelism, manifested through culturally fixed dyadic sets and synonymous word pairs (e.g., Ina Rimu – Ama Gaya, Lango – Uma, and Tanah Igu – Ekan Ruteng) that construct cosmological and social balance; (2) Syntactic Parallelism, characterized by symmetrical grammatical structures and repeating phrasal frames such as Puke opu... and Puke pe opu..., which function as an immutable "oral legal document" ensuring the preservation and precision of customary law across generations; and (3) Phonological Parallelism, exhibited through rhythmic cadence, assonance, and terminal vowel uniformity (e.g., Tala papa – Tala lola) that project speaker authority and establish a sacred, magico-religious atmosphere. Culturally and linguistically, parallelism operates far beyond a mere stylistic or poetic ornament; it serves as a vital communicative mechanism that binds the wife-giving and wife-taking clans, validates dowry (belis) agreements, and invokes ancestral protection. Amidst contemporary modernization pressures that threaten indigenous oral traditions, documenting these linguistic structures provides an essential framework for preserving Solor-Lamaholot cultural heritage, reinforcing kinship bonds, and transmitting ancestral values to future generations.]]>
