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All Journal MUDRA Jurnal Seni Budaya IHiS (Indonesian Historical Studies) Jurnal Masyarakat dan Budaya
Samidi Samidi
Departemen Ilmu Sejarah, Fakultas Ilmu Budaya, Universitas Airlangga
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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“BERLAYAR MENUJU PULAU DEWATA” MIGRASI ORANG-ORANG BUGIS-MAKASSAR KE BALI UTARA “SAILING TO THE ISLAND OF GODS” MIGRATION OF BUGINESE-MAKASSARESE TO NORTH BALI Johny A. Khusyairi; Abd. Latif; Samidi Samidi
Jurnal Masyarakat dan Budaya Vol. 18 No. 1 (2016)
Publisher : LIPI Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.14203/jmb.v18i1.345

Abstract

Abstract This article aims to discuss the migration process of the Buginese-Makassarese to north Bali. Based on oral history, they had lived in north Bali since the 17th century. They later settled down in the kampongs of Buginese in Buleleng, Penyabangan, Celukan Bawang, and Sumberkima. The migration process was driven by political and economic problems. The Makassarese and their allies was lost during their struggle against the Dutch-East India Company (VOC) in 1667/1669. The migration flow of Makassarese was increasing due to the rebel of Kahar Muzakar DI/TII in South Sulawesi. Economically, they have sails to catch sea cucumbers and turtles then sell them to Singapore. The Buginese-Makassare always preserve their Bugineseness identity while they are interacting with the Balinese. Nevertheless, some aspects of their identity are gradually disappearing, such as ethnic language and house architecture. Although they have different religion and belief, they can adapt to the Balinese customs and culture. Using Balinese language and marriage with Balinese are the media to maintain their relationships with the locals. Keywords: migration, Buginese-Makassarese, North Bali, adaptation Abstrak Artikel ini bertujuan untuk mendiskusikan proses migrasi orang-orang Bugis-Makassar ke Bali Utara. Berdasarkan tradisi dan sejarah lisan, mereka sudah berada di Bali Utara sejak abad ke-17. Mereka bermukim di Kampung Bugis Buleleng, Penyabangan, Celukan Bawang, dan Sumberkima. Proses migrasi didorong oleh persoalan politik dan ekonomi. Persoalan politik berkaitan dengan kekalahan Makassar dan sekutunya melawan VOC pada tahun 1667/1669. Gelombang migrasi besar-besaran terjadi saat Sulawesi Selatan dilanda kekacauan akibat pemberontakan DI/TII Kahar Muzakkar. Persoalan ekonomi juga menjadi alasan penting dalam proses migrasi tersebut. Mereka berlayar ke berbagai kawasan untuk mencari teripang dan penyu untuk dijual ke Singapura. Dalam perjumpaan dengan orang-orang Bali yang memiliki adat- istiadat, orang-orang Bugis-Makassar tetap mampu menjaga identitas ke-Bugis-annya. Akan tetapi, terdapat beberapa aspek yang mulai hilang seperti bahasa dan rumah. Walaupun memiliki perbedaan keyakinan, orang-orang Bugis-Makassar mampu beradaptasi dengan orang-orang Bali. Bahasa dan perkawinan dengan orang Bali menjadi media untuk menjaga hubungan mereka dengan penduduk lokal. Kata kunci: migrasi, Bugis-Makassar, Bali Utara, adaptasi
Identitas Budaya Masyarakat Kota: Teater Tradisi di Kota Surabaya Pada Awal Abad XX S. Samidi
Indonesian Historical Studies Vol 3, No 1 (2019)
Publisher : Diponegoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (635.755 KB) | DOI: 10.14710/ihis.v3i1.5308

Abstract

This study examines why does Ludruk represent the cultural identity of the people of Surabaya? How does society appreciate the traditional theater, especially in Ludruk in their daily practice? The purpose of this article explains the historical reality of Ludruk art that serves as entertainment and cultural identity. This article using the historical method by relying on historical sources. The result shows that theater traditions that existed and famous in Surabaya at the beginning of the 20th century were Comedy Stambul, Wayang Wong, and Ludruk, then appeared Ketoprak in the late 1930s. The appearance of this theater has been adapted to the tastes of the support community. Comedy Stambul is a theater that originated in India, then spread to Southeast Asia. Comedy Stambul is considered as a hybrid art because it comes from a blend of local cultural elements, while Wayang Wong, Ludruk, and Ketoprak an original art derived from customs and local values. Theater that represents the cultural identity of the people of Surabaya is Ludruk.
Kebertahanan Kesenian Basing Komunitas Kajang Dalam Tantangan Global Samidi Samidi; Sarkawi B. Husain
Mudra Jurnal Seni Budaya Vol 38 No 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v38i2.2199

Abstract

This article describes traditional arts dealing with global challenges. Globalization that makes it easy for everyone to express entertainment arts is a serious threat to Basing's traditional arts. The slowness of adaptation and regeneration further distances Basing's art from everyday life. The people of Kajang are trying to maintain it, but recently they have faced many obstacles. The mechanism that is still maintained is the relation of traditional art to the ritual of prayer for death. The purpose of this paper is to explain the relationship between traditioal art and rituals for the death and the constraints to inherit the art. This research used qualitative data that collected and analyzed based on village monograph, participant observations, and interviews. The observation is carried out during the Basing art performance at the death prayer ritual. The interviews were conducted on several people which proportionally representing social roles, including traditional community leaders, village government bureaucrats, teachers, youth art activists, village elders, and artists. The research found that restriction to the customary areas is only able to control people's behavior based on customary values and norms, but is not able to force residents to develop the Basing arts. However, the inheritance of arts faces obstacles because the people of Kajang are not able to carry out cadre of artists as successors and reinforcers of the existence of Basing art.
Co-Authors Abd. Latif Johny Alfian Khusyairi Sarkawi B Husain