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Makna Passempa’ Dalam Je’ne’-Je’ne’ Sappara’ Oleh Masyarakat Balangloe Tarowang Kecamatan Tarowang Kabupaten Jeneponto Putri, Sulfiana Mansyur; M, Rezky Putri Wira Utami
Jurnal Ilmu Sosial, Humaniora dan Seni Vol. 2 No. 3 (2024): November - Desember
Publisher : CV. ITTC INDONESIA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62379/jishs.v2i3.1526

The research entitled "The Meaning of Passempa in the Je'ne'-Je'ne' Sappara' Ritual by the Balangloe Tarowang Community, Tarowang District, Jeneponto Regency" the authors try to reveal the values and meaning of passempa' for the people of Balangloe Tarowang Village, Tarowang District, Jeneponto Regency. The problems analyzed are: (1) What is the form of passempa' in je'ne'-je'ne' sappara' by the people of Balangloe Tarowang Village, Tarowang District, Jeneponto Regency, and (2) What is the meaning of passempa' in je'ne'-je' ne' sappara' by the people of Balangloe Tarowang Village, Tarowang District, Jeneponto Regency. Answering the first formulation of the problem uses the theories and opinions of several theater leaders regarding forms. Responding to the second formulation of the problem, namely the interpretation of symbolic forms as expressions of contextualization within the overall structure of meaning by Geertz. This research is qualitative in nature. The data were collected through literature study, direct observation and interviews. The results of the research using approaches related to the theory of form, structure, and the concept of interpretation of meaning prove that passempa' by the people of Balangloe Tarowang Village in Tarowang District, Jeneponto Regency includes elements of performing arts spectacle as well as other performing arts as well as indicating the values of the Bugis- Makassar contained in the meaning passempa'.

Pertunjukan Pantomim ”diskriminasi bagai gelap” oleh Kelompok Gerkatin Cabang Makassar Analisis Representasi Sosial Teman Tuli Putri, Sulfiana Mansyur; B, Fajrin
Jurnal Ilmu Sosial, Humaniora dan Seni Vol. 3 No. 1 (2024): Juli - Agustus
Publisher : CV. ITTC INDONESIA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62379/jishs.v3i1.1974

Staging Dark Discrimination represents the social life of deaf friends seen through the values of life practiced. The values practiced are: social values, religious values, and moral values. Through the Dark Discrimination show, it will be described in relation to the formulation of the problem: the dramatic structure of the Dark Discrimination show, as well as the deaf friends' social representations presented in the Dark Discrimination show. The process of elucidating the problems of the deaf friends' social lives is first described as a Dark Discrimination show. Next is Gustav Freytag's dramatic structural theory for dissecting the dramatic structure of the Dark Discrimination show. The theory used to analyze social representation is the theory of construction and cultural reproduction of Irwan Abdullah. This interpretive qualitative research method will use qualitative data obtained from the video documentation of the Dark Discrimination Show, while the data collection used is the study of documentation, literature, and interviews. The Dark Discrimination Show is a social representation of deaf friends, and the figures presented by deaf friends represent the image of the people in Makassar. The picture of the deaf friend's social life as outlined in Dark Discrimination through forms of representation from the social, economic and religious aspects that we can see from the values of their daily practices. Values that are practiced and expressed in the show are: Social values, religious values, and moral values. The values which are each illustrated through the figure of the Deaf in Dark Discrimination. Starting from the sensitivity of deaf friends to the community, triggering deaf friends in making the work of Dark Discrimination. The sensitivity of deaf friends is reflected in the dramatic structure of the Dark Discrimination show that practiced values are closely related to deaf friends' behavior.

Greget Sere Api di Suku Bugis Sulawesi Selatan Putri, Sulfiana Mansyur
Jurnal Ilmu Sosial, Humaniora dan Seni Vol. 3 No. 5 (2025): Maret - April
Publisher : CV. ITTC INDONESIA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62379/jishs.v3i4.2662

The Sere Api performance in Gattareng Village became the object of research because it has the complexity of realizing an aesthetic artistic expression that is combined with the field of cultural tourism. This provides an opportunity through the Sere Api performance which is expected to have an internal and external impact on individuals or groups within the specific scope of performing arts. This research aims to explain (1) the attraction or attraction of the Sere Api performance, (2) the role of artistic expression in providing an aesthetic experience, and (3) the prospects for the Sere Api performance for tourism and cultural preservation efforts. This research uses qualitative methods on the Sere Api performance and its potential in cultural tourism. Alfred Gell's approach is used to analyze the charm of movement expressions in performances that can attract the attention of the audience, so that they can give an aesthetic impression to observers, as well as giving rise to perceptions that have implications for the tourism sector.The research results show that (1) there is an attraction or charm displayed in the Sere Api performance through the movements, costumes, presentation and rituals of the performance which are able to provide cultural therapeutic elements and provide an aesthetic experience for the audience; (2) the need for an aesthetic experience that provides a tourist attraction for the audience so as to provide encouragement to enjoy the Sere Api performance in Gattareng village; and (3) the government pays special attention to performing arts as an agent and asset for cultural tourism. The increasingly complex and routine role of performing arts opens up opportunities for collaborative work with other scientific disciplines and is able to provide hope for varied development in the use of cultural diversity in Indonesia.

Keterampilan Pandai Besi Pembuatan Badik yang Digunakan pada Tradisi Angngaru Lokal Di Kampung Beru Parigi, Kabupaten Gowa Ds, Agung Fadhil; Putri, Sulfiana Mansyur
Jurnal Ilmu Sosial, Humaniora dan Seni Vol. 4 No. 1 (2025): Juli - Agustus
Publisher : CV. ITTC INDONESIA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62379/jishs.v4i1.3492

This study explores the connection between the ritual of badik (traditional dagger) forging on the 10th of Muharram and the practice of angngaru within the local community of Kampung Beru, Parigi Village, Tinggimoncong Subdistrict, Gowa Regency, South Sulawesi. The forging of badik on this particular date is regarded not merely as a technical craft, but as a sacred ritual believed to possess protective and apotropaic powers, coinciding with the spiritual significance of Ashura, a day associated with blessings and protection. On the other hand, angngaru—originally a traditional oath of loyalty performed by warriors to their king—carries deep symbolic and spiritual meanings embedded within the Bugis-Makassar cultural framework. Using a symbolic anthropology approach and ethnographic methods, this research reveals that the badik functions not only as a physical weapon but also as a cultural and spiritual medium integrated into the angngaru tradition. The ritual forging of badik during sacred times such as the 10th of Muharram enhances the spiritual dimension of angngaru, serving as an expression of bravery, ancestral reverence, and cultural identity. Thus, a strong correlation exists between the ritualized production of badik and the practice of angngaru, both of which represent interconnected cultural systems that preserve the cosmology, local values, and spirituality of the people of Kampung Beru, Gowa.

Tradisi Maudu Lompoa pada Masyarakat Cikoang sebagai Teater Komunal: Analisis Performativitas Putri, Sulfiana Mansyur; Sultan, Ariyanti
Jurnal Ilmu Sosial, Humaniora dan Seni Vol. 4 No. 4 (2026): Januari - Februari
Publisher : CV. ITTC INDONESIA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62379/jishs.v4i4.4258

This study examines the Maudu Lompoa tradition, a religious ritual of the Cikoang community in Takalar Regency, South Sulawesi. Maudu Lompoa is a form of communal theater that represents cultural values, religiosity, and collective or communal identity through performative arts. Maudu Lompoa is a commemoration of an important day, coinciding with the birthday of the Prophet Muhammad SAW, which has been celebrated since the 17th century. This tradition is a religious ritual that also presents a social performance involving thousands of people from various backgrounds in a creative, artistic, symbolic, and collaborative process. This tradition was originally initiated by Syekh Jalaluddin, a cleric from Aceh who is believed to be a descendant of the Prophet Muhammad SAW, and has become a spiritual and cultural tradition passed down from generation to generation to this day.This study uses Judith Butler's performativity analysis and Victor Turner's social drama theory. It focuses on symbolic repetition, collective bodily participation, and ritual space, which indirectly bring out social and communal values through representation in the performance. Through participatory and narrative analysis, it was found that Maudu Lompoa is not only a form of spiritual expression, but also an arena or space for drama that strengthens solidarity and identity for the community. This study uses a qualitative approach with stages of literature study, collecting narratives, videos, photos, documents, archives and academic literature deemed relevant. The research focuses on how the Maudu Lompoa tradition in the Cikoang community represents a form of communal theater through performative elements. The results of performative analysis can reveal the meaning, identity, and social dynamics contained in the tradition of Maudu Lompoa as a performing art based on local wisdom.

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