MAKNA DAN FUNGSI TRADISI LISAN KENDURI SKO MASYARAKAT KERINCI JAMBI/MEANING AND FUNGCTIONS OF KENDURI SKO ORAL TRADITION KERINCI SOCIETY IN JAMBI

AbstrakKenduri Sko merupakan tradisi pengukuhan gelar adat yang dilakukan oleh masyarakat Kerinci. Di dalam tradisi itu terdapat berbagai piranti dan pepatah-petitih yang belum diketahui makna dan fungsinya. Oleh sebab itu, penelitian ini hendak melihat makna dan fungsi tradisi lisan Kenduri Sko. Ada dua strategi yang digunakan dalam penelitian ini,pertama, pengumpulan data dengan perekaman dan wawancara. Kedua, Kenduri Sko dilihat sebagai fakta semiotik dengan aspek empirik dan aspek nonempirik. Melalui aspek empirik dikaji piranti dan teks pepatah-petitih dalam pengukuhan pemangku adat, sedangkan aspek nonempirik dilihat secara keseluruhan tradisi Kenduri Sko sebagai kesadaran kolektif kebahasaan dan kesadaran kolektif kebudayaan. Metode berikutnya adalah dengan melihat fungsi-fungsi folklore menurut Bascom. Penelitian ini menemukan bahwa Kenduri Skoadalah warisan nenek moyang yang berupa benda pusaka, aturan-aturan, norma-norma, nilai-nilai, dan sebagai ucapan rasa syukur atas apa yang menjadi milik masyarakat Kerinci. Adapun fungsi Kenduri Sko adalah sebagai pengukuhan gelar adat, sistem nilai-nilai kolektif, edukasi bagi pewaris selanjutnya, dan menjadi alat kontrol dalam prilaku sosial masyarakat.Kata kunci: tradisi lisan, kenduri sko, semiotik, kesadaran kolektifAbstractKenduri Sko is a tradition of custom title inauguration held by the Kerinci society. In that tradition, there are various tools and wise words which their meaning and functions are not yet known. Therefore, this study wants to look at the meaning and function of Kenduri Sko oral tradition. Two strategies are used in this study. First, the data are collected by recording and interviewing. Second, Kenduri Sko seen as a semiotic fact with empirical and non-empirical aspects. Through the empirical aspect, petatah-petitih (customary rhyming wise words) text examined in the inauguration of customary stakeholders, while the non-empirical aspect seen as a whole of the Kenduri Sko tradition as collective language and cultural awareness. The next method is to look at the functions of folklore according to Bascom. This research found that Kenduri Sko is a legacy of ancestors in the form of heirlooms, rules, norms, values, and gratitude for what belongs to the Kerinci’s community. Kenduri Sko functions as an oath of customary titles, a system of collective values, education for the next heirs, and a means of control in people’s social behavior.Keywords: oral tradition, kenduri sko, semiotics, collective awareness

Warfare, Oral Tradition, and Tourism

Turkish folk narratives formed around the Gallipoli Campaign, which reflect the mental, psychological, and cultural attitude of Turks towards this war and hold an important place in Turkish folklore, also have the potential to make significant contributions to battlefield tourism of the region. The effective, creative, and innovative uses of the folk narratives conveying the mystical, supernatural, and miraculous events believed to have taken place in this war can be used in the enrichment and diversification of space, products, services, and experiences offered in battlefield tourism. The ultimate aim of the study is to discuss how authentic, creative, and innovative tourist attractions can be created by the valorization, remediation, and reenactment of intangible war heritage based on the example of the relationship between folk narratives about the Gallipoli Campaign and battlefield tourism in the Gallipoli Peninsula.

Digital Preservation of Indigenous Knowledge in South African Rural Communities

Indigenous knowledge is mainly preserved in the memories of elders, and most of this knowledge is slowly disappearing in rural communities due to various factors such as death, sickness, and memory loss. Digital preservation is regarded as one of the modern methods to preserve indigenous knowledge as it can be shared with others and be passed on to future generations. But how can indigenous knowledge be documented and preserved to benefit indigenous knowledge owners and accessible for future generations? The chapter thus looked into the policy, techniques, and technologies being employed to document and preserve indigenous knowledge in rural communities. Knowledge management frameworks were also used as underpinning theories to guide the study. The findings revealed that rural communities are still relying mostly on traditional methods such as oral tradition, storytelling, and community of practice in sharing their indigenous knowledge in this digital era.

Meaning and Discourse of Oral Tradition “Basan” of Helong Language

This research examined the meaning and discourse of a tradition named Basan. Halliday‘s approaches of discourse analysis was used in this research, and was organized around three generalized semiotic meanings that relate to social action (field), roles of people (tenor), and organization of the text or sign (mode). Carrying out the maintenance and revitalization of oral literature was done objectively. “Basan” is a rhythmic traditional speech that is uttered with different intonations in order to convey the main points of speech that is spoken according to the context in order to see the meaning contained in each speech and the context associated with the text spoken. The context in oral tradition “Basan” includes place, time, results and message, which begins with an opening and ends with closing, while the meaning that can be applied in the oral tradition “Basan” are lexical and contextual meanings. “Basan” consists of context and flow, those are opening, main utterance, and closing. For its discourse, “Basan” is done verbally (mode), done by the leaders of the village to the guests in social occasion and by the priest to the assembly in religion occasion (tenor), and done in a social interaction and spiritual activities (field).

Elegies and Laments in the Nova Scotia Gaelic Song Tradition: Conservatism and Innovation

Gaelic-speaking emigrants brought with them a massive body of oral tradition, including a rich and varied corpus of song–poetry, and many of the emigrants were themselves highly skilled song-makers. Elegies were a particularly prominent genre that formed a crucially important aspect of the sizeable amount of panegyric verse for members of the Gaelic aristocracy, which is a tradition dating back to the Middle Ages. This contribution will demonstrate that elegies retained a prominent place in the Gaelic tradition in the new world Gaelic communities established in many parts of Canada and in particular in eastern Nova Scotia. In many respects, the tradition is a conservative one: there are strong elements of continuity. One important difference is the subjects for whom elegies were composed: in the new world context, praise for clan chiefs and other members of the traditional Gaelic aristocracy were no longer of relevance, although a small number were composed primarily out of a sense of personal obligation for patronage shown in the Old Country. Instead—and as was increasingly happening in the nineteenth century in Scotland, as well—the deaths of new community leaders, including clergy, and other prominent Gaels were recorded in verse. The large number of songs composed to mark the deaths of community members is also important—particularly young people lost at sea and in other tragic circumstances, occasionally in military service, and so forth. In these song–poems, we see local poets playing a role assumed by song-makers throughout Gaelic-speaking Scotland and Ireland: that of spokespeople for the community as a whole.

Performing schools and tutorial methods in the epic art of bagshy-dessanchy

Искусство туркменских бахши-дестанчи имеет древние истоки и отличается жанровым богатством и стилевым разнообразием. Эпическое наследие туркмен в достаточной степени изучено филологами, этнографами, однако специальных исследований, раскрывающих природу сохранения изустной традиции и описывающих методы передачи эпических жанров из поколения в поколение в Туркменистане, до сих пор нет. Цель статьи – описать бытующие школы эпического сказительства, выявить их жанровые, исполнительские особенности, сохранившиеся в искусстве бахши-дестанчи традиции наставничества, а также охарактеризовать методы, позволяющие сказителям хранить в памяти огромное количество эпических песен и текстов. Для решения намеченных целей были осуществлены следующие задачи: проанализированы эпические жанры различных локальных школ; проведен сравнительный анализ исполнения эпоса одним и тем же сказителем в различные периоды времени, а также наставника и его учеников; определены факторы, влияющие на изменение дестанов. В качестве методологической базы использованы труды А. Лорда, В. В. Бартольда, В. М. Жирмунского, В. Я. Проппа, Е. Э. Бертельса, Б. Н. Путилова, К. Райхла. Источниками для анализа послужили образцы эпического наследия из аудио фонда Туркменской национальной консерватории, а также полевые аудио/видео материалы из личного архива авторов. Впервые в статье в качестве жанров эпических сказителей рассматриваются не только традиционные эпосы и дестаны, но и жанр легенды с музыкой, а также излюбленные в народе музыкально-поэтические транскрипции произведений поэтов-классиков. Проведенные исследования позволили выявить формообразующую роль песен и их функции, осуществляющие развитие музыкальной драматургии в дестанах. Впервые в работе выявлены «песни-маяки», составляющие каркас эпического сказания и способствующие запоминанию повествования в памяти народных сказителей. Незакреплённость песенных мотивов к текстам, а также использование в песнях мелодий-тем (музыкальных напевов, характерных для конкретных локальных школ) определяет особенности туркменского дестанного исполнительства. Учитывая тенденцию к ослабеванию интереса молодого поколения к древней традиции, изучение методов преемственности, используемых в процессе сохранения традиции устного наследия, представляется своевременным и актуальным. The art of Turkmen bagshy-dessanchy (epictellers) is ancient and distinguished by its genre richness and stylistic diversity. The epic heritage of Turkmens has been sufficiently studied by philologists and ethnographers, but there are no special studies in Turkmenistan revealing the nature of the oral tradition preservation and the methods of transmitting epic genres from generation to generation. The purpose of the article was to reveal the genre and performing features of the schools of epic epic-telling in Turkmenistan, describe the traditions of mentoring that have survived in the art of bagshy-dessanchy, and identify methods that allow Turkmen storytellers to keep in memory a huge number of songs and texts. To solve these goals, the following tasks were carried out: the epic legends of various local schools were analyzed; a comparative analysis of the performance of the epic by the same narrator in different periods of time was carried out; revealed differences in the performance of the same legend by the mentor and his students; the factors and means influencing the change of destans have been determined. The works of A. Lord, V. Barthold, V. Zhirmunsky, V. Propp, E. Bertels, B. Putilov, K. Reichl were used in the article as a methodological base. The sources for the analysis were samples of the epic heritage from the Fund of audio materials of the Turkmen National Conservatory, as well as field audio-, videomaterials from the authors’ personal archives. In the article, for the first time, not only epic cycles and destans, but also the genre of legend with music, as well as poetic transcriptions of the classical poet’s works were considered as the main genres of bagshy-destanchy. The studies helped to identify the formative role of epic songs and their important functions, thanks to which the development of the musical dramaturgy in epic genres was carried out. For the first time, we identified the beacon songs, that make up the frame of Turkmen epic works, thanks to which the epic text remembering in the memory of bagshy-dessanchy. The looseness of song motifs with texts, using the theme-melodies (musical tunes, which characteristic of specific local schools) in epic songs showed the particularities of Turkmen destan performance. Taking into account the tendency towards a gradual weakening of the interest of the younger generation in the ancient tradition, the identification of the methods used in the process of preserving the oral epic heritage is highly relevant.

An American Singing Heritage

This edition brings together representative transcriptions of folk songs and ballads in the British-Irish-American oral tradition that have enjoyed widespread familiarity throughout twentieth-century America. Within are the one hundred folk songs that most frequently occurred in a methodical survey of Roud's Folk Song Index, catalogues of commercial early country (or “hillbilly”) recordings, and relevant archival collections. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from (1) commercial recordings of “hillbilly” musicians, and (2) field recordings in the collection of the Library of Congress's Archive of American Folk Song, now part of the Archive of Folk Culture. Each transcription is accompanied by a brief contextualizing essay discussing the song's history and influence, recording and performance information (whenever available), and an examination of the tune. The edition begins with a substantive essay about the history of folk song recordings and folk song scholarship, and the nature of traditional vocal music in the United States.

Osong, Value Transformation of Oral Tradition in Regional Language Learning of SMPN 1 Bulupoddo, Sinjai Regency

This study is a quantitative descriptive study that describes the ability to read blanks of eighth-grade students of SMPN 1 Bulupoddo, Sinjai Regency. Based on the presentation of the results of the data analysis above, it can be described in detail about the osong reading ability of the eighth-grade students of SMPN 1 Bulupoddo, Sinjai Regency. Students' test results in reading blanks are then analyzed based on predetermined criteria or assessment indicators, namely the pronunciation aspect with a score of 1 to 1, intonation aspect with a score of 1 to 3, gesture aspect with a score of 1 to 3, expression aspect with a score of 1 up to 3, the aspect of appreciation with a score of 1 to 3, the aspect of appearance with a score of 1 to 3. Of the six aspects of the assessment of reading blanks, the maximum score is 18. In the contents of elong osong itself, the theme contained in it is the figure of a Bugis human who is brave and does not stand still and becomes a coward towards the nation and homeland. The tones used are generally satirical and patronizing. The atmosphere or state of the reader's soul after reading or listening to the osong can be a booster or an incendiary. While the results of the current study emphasize the ability of students to read blanks. This is what distinguishes previous research from the results of the present study. Keywords: Osong, Value Transformation, Learning, Regional Language, Sinjai

Free indirect speech in Croatian oral folk tales

This paper considers free indirect speech (FIS) in Croatian oral folk tales (fairy tales, legends, oral tradition and fables). Oral folk tales (folklore) from all parts of Croatia, and that in all three Croatian dialects (the Shtokavian, the Chakavian, and the Kajkavian) have been analysed. Special attention is paid to first-hand accounts according to authentic tellings in recent times. The types of FIS that are commonly attributed to the linguo-stylistic characteristics of modern art prose have been con[1]sidered. Additionally, some techniques that also indicate SNG have been analysed, which has neither been noticed nor described in the hitherto Croatian philological literature. It is concluded that FIS is a linguo-stylistic device which affects the way of delivering (creating) a story, but it is also a feature which distinguishes one tale from another.

Urban Studies of Accra

Accra is one of the largest and most important cities in sub-Saharan Africa. The aim of this article is to assess the evolution of urban studies in Accra and its main historical and contemporary foci. Early knowledge on urban Accra is fragmentary and orientated toward European contact points and urban plans, ostensibly from the gaze of Europeans. Writings from Euro-Africans such as Carl Reindorf provide a different prism into the precolonial, indigenous, urban society, whereas most indigenous urban knowledge was situated in the oral tradition at this time. Around independence, officially appointed social anthropologists wrote about an indigenous community in Tema and surveyed the multiethnic Accra environment. From independence in 1957 until the early 1980s, social scientists viewed the urban settlement as an alien, Western intervention. Local scholarship on Accra was sidelined as the academy in a poor, emergent nation became preoccupied with the genesis of nation-state building and the establishment of viable academic departments in national universities, and growing proportions of migrants regarded “home” as somewhere else, that is, ancestral villages. In the 1970s Accra was inserted into world history and social history, and social scientists began to study residential geographies, but scholarship at the city-scale remained sparse. Engagement with world and social histories and the social sciences demonstrated that history matters, but not in linear and teleological ways. The liberalization era ushered in by structural adjustment policies (SAPs) in 1983 invigorated studies of Accra’s urban impacts and effects. Much of this research was disseminated by international scholars, as Ghanaian scholars had to contend with the negative impacts of SAPs on their own universities and households. Since the turn of the 21st century, scholarship on Accra, and African cities in general, has been increasing. Diverse research questions and a multiplicity of methodologies and frameworks seek to engage Western urban theories and other variants, undertake policy-relevant work, assess ethnic and residential dynamics, contribute to international urban debates, and advance postcolonial and revisionist accounts of urbanism. Viewed at the third decade of the 21st century, scholarship on Accra is of diverse origins, encompassing scholarship from locals, members of the diaspora, and international urbanists, and a promising tilt is local–international collaborations co-producing knowledge.