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).

Serialization of Ọbasa’s Poems in The Yorùbá News

Every newspaper has its form, structure, and pattern. The Yorùbá News published between 1924-1945 was not an exception, as it comprised of different contents ranging from the editorial opinion to home news, gossip, adverts, and serialization of different forms of narratives. D.A. Ọbasa, the publisher ́ of The Yorùbá News, also published many works of poetry. Ọbasa started the publication of excerpts of his poems in The Yoruba News under the column “Àwọn Akéwì.” Serializing these poems, therefore, means issuing them regularly and consecutively in diferent editions of the newspaper. In the various scholarly engagements with Ọbasa’s works, little or no attention has been given to the serialization of his poems in Te Yorùbá News. The focus of this easy therefore is to fill this gap by highlighting and documenting the serialized poems of Ọbasa in Te Yorùbá News. Trough intertextuality theory, the easy aims at appraising how Ọbasa transfer his knowledge of the Yorùbá oral literature to his readers through his application of oral poetic form from his serialized poems. Tis work will therefore dwell on Intertextuality and its influence on the works of Ọbasa, which will enable us to discuss his creative ability as a cultural activist.

A Sociocultural Appraisal of Yorùbá Kegites’ Songs

This is a study of how the oral aesthetics of textual production by a group, the Kegites, are used in the construction of an identity rooted in a collective context that reflects a socio-political engagement with the complex social histories of the Yorùbá society and Nigeria at large. The study identifies common practices of the Kegites and themes of the texts of their songs. It shows the practice of engagement by the Kegites through which identity can be textually constructed in ways that politicize self-representation and challenge discourses grounded in the colonial and postcolonial histories of the Yorùbá people. Through the discussion of themes such as ancestral presence, the aesthetics of orature, and the political significance of group or society (ẹgbé) ̣ among the Yorùbá, the paper seeks to showcase the presence of a characteristic of Yorùbá oral literature in which personal, cultural, economic, social and political issues become inseparable. It demonstrates how oral text reflects societal elements and performers use various societal elements to create an expression of an identity within the multiple currents and traditions by taking the rules, creativity, and artistry of self-representation and shaping them with cultural content, as well as with the rhythms and speech patterns of the Yorùbá people.

Tuturan Komburongo in the Context of Oral Narrative and Belief of the Tobilung Ethnic Group of Sabah

The oral narratives that revolve around Komburongo are known as tuturan Komburongo among the Tobilung ethnic group in Sabah. The purpose of this article is to analyze the elements of belief contained in these stories. All the tuturan Komburungo that are analyzed in this article are obtained from fieldwork interviews with informants from the Tobilung ethnic group in the district of Kota Belud, Sabah. The important issues dealt with in this article are concerned with the Tobilung ethnic group's belief in the supernatural powers of Komburongo, as told in their oral literature. The result of the analysis by way of interpretation in this study finds that the tuturan Komburungo are divided into myth or legend in the context of folklore. On the question of its origin, Komburongo is believed to have been created by Tinamaru, the Creator of the Tobilung. The traditional Tobilung ethnic group are found to be highly dependent on Komburongo as the good spirit that provides guidance and possesses magical powers that help to solve various life crises for generations. This study is considered significant because it highlights many aspects of the belief of the Tobilung ethnic group passed down from generation to generation based on tuturan Komburungo.

NARRATIVE GENIUS AND THINKING IN TWO MALAY ORAL LITERATURE

In Malaysia, oral literature which is conveyed through a storyteller is the most ancient and instinctive art. Through the recording of the oral literature, which is then printed and marketed, the people today can enjoy the heritage of oral literature that narrates the structure of the society as well as various issues and conflicts of its time. In oral literature, it contains the genius of narrative and the genius thought of the nation’s storyteller, especially Pawang Ana through his masterpieces namely Hikayat Malim Dewa and Hikayat Anggun Che Tunggal. Both stories, recorded around 1886, narrate the voyage of a group of Malay warriors to Portugal to counter-attack the western colonists and gain victory. These two works of oral literature not only contain elements of ethnocentrism but are laden with postcolonial thinking, about seven decades ahead of postcolonial discourse by modern scholars that began to emerge around the 1950s.

Mitos dan Banjir

Abstrak: Banjir besar melanda bumi Kalimantan Selatan pada awal Januari 2021. Pada saat yang sama, muncul mitos-mitos yang berhubungan dengan banjir besar ini. Penelitian ini bertujuan untuk menguraikan mitos yang muncul pada saat banjir, menjelaskan hubungan antara banjir (lingkungan) dan mitos ini, dan mengungkap penyebab pengaruhnya kepada masyarakat. Ada beberapa tahapan dalam penelitian ini; Pertama, mendata mitos-mitos yang muncul pada saat banjir besar bulan Januari 2021; Kedua, menghubungkan dan mencari sumber mitos itu dari sastra lisan di Kalimantan Selatan. Ketiga, Mengungkapkan makna mitos tersebut. Keempat, menganalisis mitos-mitos dengan menggunakan teori ekokritik Garrard. Kelima, menghubungkan antara mitos dengan masyarakat serta pengaruh mitos itu dalam masyarakat. Ada dua mitos yang muncul pada saat banjir di Kalimantan Selatan, yaitu mitos naga dan mitos keladi. Mitos naga bersumber dari adanya cerita naga penunggu Sungai Barito dalam cerita Asal Mula Sungai Barito dan Sungai Amandit dalam cerita Legenda Lok Sinaga. Sementara itu, mitos keladi berkaitan dengan pamali yang dipercaya orang Banjar. Kedua mitos ini merefleksikan kebudayaan Banjar yang berkaitan dengan isu lingkungan. Mitos naga merupakan kritik sosial terhadap kondisi pegunungan Meratus yang sudah memprihatinkan akibat pertambangan dan perkebunan sawit, sedangkan mitos keladi merupakan kritik untuk bersikap adil terhadap hutan. Kedua mitos ini juga menunjukkan sikap urang Banjar yang tidak menyalahkan alam, lingkungan, dan cuaca, tetapi menyalahkan diri sendiri karena tidak mampu merawat alam.Kata kunci: mitos, naga, keladi, banjir, dan kerusakan lingkungan Abstract: A big flood hit South Kalimantan in early January 2021. At the same time, the myths related to this big flood came out. The research objectives are first, to describe the myths that came out during the flood, second, to explain the relationship between floods (environment) and these myths, the third, to reveal the causes of their effects on society. There are several stages in this research; First, to list the myths that emerged during the great flood in January 2021; Second, connecting and finding the source of the myth from oral literature in South Kalimantan. Third, revealing the meaning of the myth. Fourth, analyzing myths using Garrard's eco-critical theory. Fifth, connecting myths with society and the influence of these myths in society. Two myths emerged during the big flood in South Kalimantan, namely the dragon myth and the taro myth. The myth of the dragon comes from the story of the dragon guarding the Barito River in the origin story of the Barito River and the Amandit River in the Legend of Lok Sinaga. The taro myth relates to pamali believed by the Banjar people. These two myths reflect Banjar culture relates to environmental issues. The dragon myth is a social critique of the condition of the Meratus mountains, which is already alarming due to mining and oil palm plantations. Meanwhile, the taro myth is a criticism of being wise to the forest. These two myths also show the attitude of the Banjar people who do not blame nature, the environment, and the weather but blame themselves for ignorance of nature. Key word: myth, dragon, taro flood, and environmental damage

Konotacije leksičkog sloja motiva stida u engleskim prijevodima bošnjačke balade “Hasanaginica”

Translating a work of literary art, especially poetry, also means translating its style. At the lexico-stylistic level, style manifests itself in both denotative and connotative meanings of the lexical units of a text. By analyzing the connotations of the lexical layer of shame motif in English translations of Bosniak ballad “Hasanaginica”, we can identify and problematize the interpretation of this motif in the target texts in relation to the source text. Applying the method of lexico-stylistic analysis to the key verses of the shame motif, both in the source text and in the target texts in English, we examine the ways in which different translators build the mystical motif as the only abstract concept that never develops into a poetic image, leaving space for multi-layered connotations that are imposed on the reader. The results of the analysis point to the translations that are closest to the source text in terms of containing minimal differences in the degree of their interpretive limitation or intrusiveness. The most vividly evoked key verse of the shame motif is found in Francis Jones’ translation. However, the final vocabulary choice made by a discerning translator possessing a high degree of stylistic awareness should also be influenced by other aspects of the original text, such as its established rhythmic pattern or meter that requires preservation and other formal characteristics of this ballad, which are not to be found in Jones’ translation. Therefore, our conclusion is that the results of lexico-stylistic analysis of the original should be weighed against the results of analysis on other linguo-stylistic levels of expression (phonostylistic and syntaxostylistic) in order to synthesize them as successfully as possible, which could help recreate a new, more effective and reliable translation of this masterpiece of our oral literature.

The Power of Minangkabau Pantun: A Media for The Development of Islamic Character of Students at Various Levels of Islamic Education in Indonesia

The purpose of this study is to explain that the Minangkabau pantun has the power as a medium for developing the Islamic character of students at various levels of Islamic education in Indonesia. Religious rhymes in the Minangkabau Oral Literature: Proverbs, Pantun, and Mantras as one of the effective media to develop the Islamic character of students at various levels of Islamic education in Indonesia. The method used in this study is a qualitative method with a descriptive approach. The primary data used in this study were 22 religious pantun. The results of this study are that this 22 religious pantun are closely related to philosophical values: Islam as the best religion, the implementation of the 5 pillars of Islam, and guidance to become human beings who act according to Islamic teachings in the Koran. Thus, it cannot be denied that this Minangkabau religious rhyme can be used as an effective medium to develop the Islamic character of students at various levels of Islamic education in Indonesia.