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THE REPRESENTATION OF THE DIVINE AND HUMAN BEING IMAGERY IN THE ENTITY OF RITUS SA’O NGAZA IN GURU SINA, NGADA, FLORES Yohanes Vianey, Watu; Maryah, Emiliana; Parimartha, I Gde; Meko Mbete, Aron
E-Journal of Cultural Studies Vol. 3, No. 1 Januari 2009
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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This dissertation discusses the representation of the Divine and human being imagery in theentity of ritus Sa’o Ngaza in the village of Guru Sina in Ngada Regency, Flores. The empiricproblems of this dissertasion are connected with the marginalized phenomenon of the local religionthat submerged in the entity of ritus Sa’o Ngaza and its ritual practices. This probelm is relevant tobe investigated from the perspectives cultural studies.The problems raised in this study are : 1) the representation of the Divine and human beingimagery in the entity of ritus Sa’o Ngaza, 2) the representation of the relationhip between the Divineand human being in ritual practices of Sa’o Ngaza, and 3) the meaning of the representation of theDivine and human being imagery in the entity of ritus Sa’o Ngaza. This study applies the qualitativemethod and the data collection was done using techniques of intensive interview, participationobservation,and documentation. The data were analyzed using the theory of ritus, the theory ofprocess,the theory of semiotics, and the theory of deconstruction.The findings of the study can be explained as follows. Firstly, the representation of theDivine imagery is dyadic and triadic. In the dyadic imagery representation, The Divine is depicted as’The Giver of an Unlimited Love and at the same time as ’The Unpredictable Taker of Love’. In thetriadic representation, The Divine is depicted as The Sacred, in the attributive as ‘The Beginning’,‘The End’, and ‘The Present Throughout’. In the dyadic imagery, the human being consists of theelements of the body and the soul, and in the triadic imagery, the human being consists of theelements of the body, the psyche, and the spirit.Secondly, the relation between the Divine and human being is representatively revealed inthe ritual practices of legitimating Sa’o Ngaza. This relation centers in the methapor of relationshipbetween the simbolic body dan the religious body, and affirms the status of human being as ’thewrapper of divinity seed’ and ‘His image’.Thirdly, the meaning of the representation of the Divine and human being imagery in theentity of ritus Sa’o Ngaza is sacral , spiritual, and moral. The sacral value pertains to the dinamicrelationship between the human being and the Divine in a sacral way and the sacral place. TheSpiritual value pertains to the relation intra-human being and his spiritual opened and connectedthrough inner feeling with the One Sacral in the strong effort of making the human being perfect.The moral value pertains to a good relationship among human beings themselves in accordance withtheir norms of community.The findings of the study enrich the theory of process about the concept of the Divine fromWhitehead and contrast with the theory of ritus as the choreography of violence from Smedal. In theentity of ritus Sa’o Ngaza, there is a unique concept of human being in the design of ulu palicarvings, which describes the ideology of leadership in the local tradition. The finding of thisconcept can become the model of implementation of the decostruction theory and the semiotictheory which removes and deconstructs binary opposition between the leader (ulu) and the follower(eko).

COMODIFICATION OF MAENGKET DANCE IN MINAHASA, NORTH SULAWESI IN THE GLOBALIZATION ERA Ivan, Ivan; Kutha Ratna, I Nyoman; Meko Mbete, Aron; Semadi Astra, I Gde
E-Journal of Cultural Studies Vol. 4, No. 1 Januari 2010
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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This research explores Comodification of Maengket Dance in Minahasa (TariMaengket hereon abbreviated to TM) in the globalization era. It reveals the empiricalfield reality related to comodification. The influence of global culture in Minahasa hasbeen responsible for the cultural practices of capitalism such as the emergence of culturalindustry which refers to the comodification of cultural forms as amusement industry,mass culture, popular culture and culture of consumerism. The TM has been comodified,commercialized, touristified in such a way that new meanings and forms are created.This research is focused on (1) form of the comodification of the TM inMinahasa, North Sulawesi in the globalization area; (2) the factors which have beenresponsible for the comodification of the TM Minahasa, North Sulawesi, and (3) theeffects and meanings of the comodification of the TM in Minahasa, North Sulawesi in theglobalization era.The related data were collected through interview, observation and documentationand they were descriptively, qualitatively and interpretatively analyzed. The data sourcesare some key informants and some other ordinary ones. The purposive method wasemployed to interview them. The theories used are the theory of comodification(Fairlough), the theory of popular culture (Williams and Agger), the theory ofdeconstruction (Derrida) and the theory of representation (Hall).The research findings show that comodifation has tended to the shift of the TMvalues following the pattern of arts organized by the ruler and entrepreneur, the pattern ofdistribution carried out through the inter group or institutional power relationship, andthat the form of comodification has taken place from the process of production to thecommunity of consumers which have been conditioned. It has also been found out thatthe factors of the supporting community, the creativity of the artists, Christianization,industry of culture, mass media and tourism have been responsible for the comodificationof the TM in Minahasa. The effects of the comodification are that the orientation of themagic-religious values has shifted to Christianity, the creativity of the artists has beenshackled, and the minahasanese political identity has become crystallized. And then, themeanings of the comodification are competitiveness, contestation, image, well-being, andrepresentation of minahasanese identity.

LOCAL GENIUS AS SOCIO-CULTURAL CAPITAL FOR EMPOWERING THE BAJO ETHNIC PEOPLE RESIDING AT THE COASTAL AREA OF BUNGIN PERMAI VILLAGE, SOUTH EAST SULAWESI Ali Basri, La Ode; Parimartha, I Gde; Ardika, I Wayan; Meko Mbete, Aron
E-Journal of Cultural Studies Vol. 5, No. 1 Januari 2011
Publisher : Cultural Studies Doctorate Program, Postgraduate Program of Udayana University

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In this dissertation the local genius as socio-cultural capital for empowering theBajo ethnic people residing at the costal area of Bungin Permai Village, TinanggeaDistrict, South Konawe Regency, South Sulawesi Province is discussed. The Bajo ethnicpeople have a set of local genius within their socio-cultural system which is reflected intheir belief, tradition and custom and is used as the reference for conceiving andexplaining the objective and essence of life and the world. However, such local geniushas not functioned optimally yet as they are still marginalized.This research is focused on (1) what forms of local genius serve as the sociocultural capital for empowering the Bajo ethnic group residing at the coastal area?; (2)how the local genius is developed to empower the Bajo ethnic people residing at thecoastal area?; and (3) what factors which may support and obstruct the local genius usedas the socio cultural capital for empowering the Bajo ethnic people residing at the coastalarea? Qualitative method is employed in this study with the approach of cultural studies.The theories used are the post colonial theory, structural theory, generative theory,hegemony theory and semiotic theory. The techniques used for collecting the data neededare participative observation, in-depth interview, library research, and focus groupdiscussion. The data obtained are analytically and descriptively processed and arepresented in the forms of narration, tables and visual illustration.The results of the study show that the Bajo ethnic people residing at BunginPermai Village have a set of local genius which may be potentially used as the sociocultural capital for empowering their community such as (1) indigenous skills andknowledge; (2) working culture; and (3) local organizations. The development of theindigenous skills and knowledge (pengetahuan dan ketrampilan asli; hereon abbreviatedto PKA) and the revitalization of their local organizations may be used as the sociocultural capital for empowering their community. The factors supporting the local geniusused as the socio cultural capital to support the empowerment of the Bajo ethnic peopleresiding at the coastal area are (1) availability of marine resources around the area where they live; (2) the existence of their local organizations; (3) being supporting by thecommunity and the government. The factors obstructing the local genius used as thesocio cultural capital to support the empowerment of the Bajo ethnic people residing atthe coastal area are (1) capitalistic economic transformation taking place within theircommunity; (2) collision against the mainland community with regard to cultural values;(3) low quality human resources; (4) negative image of the Bajo community. Themeanings of the local genius as the socio cultural capital for empowering the communityare (1) cultural preservation; (2) community empowerment and independence.

Pembelajaran Bahasa Berbasis Lingkungan: Perspektif Ekolinguistik Aron Meko Mbete
RETORIKA: Jurnal Ilmu Bahasa Vol. 1 No. 2 (2015): October 2015
Publisher : Magister of Linguistic, Postgraduated Program, Universitas Warmadewa

Tulisan ini ditujukan untuk memberikan konsep pembelajaran bahasa berbasis lingkungan dalam perspektif Ekolinguistik. Perubahan lingkungan kebahasaan, tentu juga lingkungan sosial, kemanusiaan, dan kebudayaan, patut dikaji secara kritis. Demikian pula perkembangan budaya media khususnya, dan perubahan tata nilai kehidupan yang “sangat mendunia” ini perlu dicermati, disikapi, dan dievaluasi kembali secara lebih dalam. Kehidupan ini memang selalu berubah dan berkembang ke tingkat peradaban dan kebudayaan yang lebih tinggi. Akan tetapi, ke arah manakah hidup ini bergerak dan berubah, (secara khusus perubahan peran dan fungsi bahasa serta sikap para pemakainya), itulah sesungguhnya yang perlu direnungkan dan dievaluasi. Pembelajaran bahasa berbasis lingkungan diupayakan agar keanekabahasaan dan juga keberagaman bahasa yang merepresentasikan keanekaragaman hayati di lingkungan tertentu, dapat menjadi sumber penulisan dan upaya pelestarian bahasa-bahasa lokal, bahasa Indonesia, dan penguasaan bahasa asing. Melalui pembelajaran bahasa-bahasa yang berbasis lingkungan itu, peserta didik memulihkan kembali interaksi, interelasi, dan interdependensi dengan lingkungan hidup mereka, sekaligus mencegah gejala ketidakberakaran hidup mereka. Kata kunci: pembelajaran bahasa, perspektif ekolinguistik

Humor Discourse in Art Performances of Shadow Puppets Cenk Blonk Gede Wira Ady Saputra; Aron Meko Mbete; I Nyoman Muliana
Austronesian: Journal of Language Science & Literature Vol. 1 No. 2 (2022): Austronesian: Journal of Language Science & Literature
Publisher : CV Wahana Publikasi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59011/austronesian.1.2.2022.56-73

Humor discourse as non-bonafide discourse is frequently found daily. The existence of humor, besides for entertainment purposes, is also being used for educational purposes, also culture and language conservation. Some approaches can be implied to understand how discourse humor is created. One of them is through language elements and pragmatism flouting. This research of humor discourse in art performances of shadow puppets aims to analyze the utilization of language elements and pragmatism flouting. This study uses a mixed-method approach. The data of this research are in the form of conversation found in the dialogue of shadow puppets performances. As the results, it was found that humor discourse is formed by the first utilization of language elements such as phonological utilization (5.56%), lexical ambiguity (3.70%), grammatical ambiguity (31.48%), rhyme utilization, and language style (59.26%); secondly, Maxim flouting such as quantity flouting (39.13%), quality flouting (21.74%), manner flouting (17.39%), relevance flouting (21.74%).

The Kinship Relationship between The Malay Language of Riau and The Sundanese Language A Comparative Historical Linguistic Study Efendi, Syahrul; Afri, Evan; Dardanila, Dardanila; Dwiwidayati, Dwiwidayati; Meko MBete, Aron
International Journal of English and Applied Linguistics (IJEAL) Vol. 5 No. 2 (2025): Volume 5 Nomor 2 Agustus 2025
Publisher : ITScience (Information Technology and Science)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47709/ijeal.v5i2.6546

This study aims to reveal the kinship relationship between Riau Malay and Sundanese languages ??seen from some vocabularies similarities. The method used is descriptive qualitative and quantitative with note-taking technique. The research data is formed of vocabulary in BMR and BS obtained from various written sources and informant interviews. Based on 200 Swadesh words for BMR and BS, there are 12,5%, namely 25 identical pairs words. This data proves that BMR and BS are not closely related because the vocabulary similarities are less than 36% or part of the sub-grouping. Vowel relatives couples different by 16 data or about 18%; 3 relatives couples have different pairs of consonants or about 1.5%; 5 relatives couples or about 2.5% who have one syllable difference; and 9 relatives couples or about 4.5% who have one consonant phoneme difference. The results of the study found that the percentage of kinship between the two languages ??was 29% which indicated that the BMR and BS were the languages ??of the family from one family (stock).BMR and BS are thought to be the same prelanguage around 2,856 years ago and are estimated to have started to separate from their parent languages ??in 833 BC (calculated in 2023)

Humor Discourse in Art Performances of Shadow Puppets Cenk Blonk Gede Wira Ady Saputra; Aron Meko Mbete; I Nyoman Muliana
Austronesian: Journal of Language Science & Literature Vol. 1 No. 2 (2022): Austronesian: Journal of Language Science & Literature
Publisher : CV Wahana Publikasi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59011/austronesian.1.2.2022.56-73

Humor discourse as non-bonafide discourse is frequently found daily. The existence of humor, besides for entertainment purposes, is also being used for educational purposes, also culture and language conservation. Some approaches can be implied to understand how discourse humor is created. One of them is through language elements and pragmatism flouting. This research of humor discourse in art performances of shadow puppets aims to analyze the utilization of language elements and pragmatism flouting. This study uses a mixed-method approach. The data of this research are in the form of conversation found in the dialogue of shadow puppets performances. As the results, it was found that humor discourse is formed by the first utilization of language elements such as phonological utilization (5.56%), lexical ambiguity (3.70%), grammatical ambiguity (31.48%), rhyme utilization, and language style (59.26%); secondly, Maxim flouting such as quantity flouting (39.13%), quality flouting (21.74%), manner flouting (17.39%), relevance flouting (21.74%).

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