Language Analysis of Makassar song Pakkarena song by Arsyad Basir (Analisis Bahasa Lagu Makassar "Pakkarena"-Arsyad Basir

 

Pakkarena song by Arsyad Basir

Ikatte ri turatea, bau' (we, from heaven)

Adatta' marioloa, sayang (It’s our old custom)

E Aule, Pakarenayya (how beautiful, the dancer)

La'biri' ri pa'gaukang (elegant in every event)

Punna nia' pa'gaukang, bau' (if there’s an event)

Nia' pattempo-tempoang, sayang (there’s a performance, honey)

E Aule, Sukku' baji'na (oh my, it’d be better)

Punna nia' pakarena (if there are dancer)

Pakarena le'ngo-le'ngo, bau' (the dancer swaying)

Pa'ganrang a'mikki'-mikki', sayang (the tambour enjoying the beats)

E Aule, Pappui'-pui' (how beautifr ul, the flutist)

Sa'ge rapa' sulengkana (that they sitting cross-legged tightly)

 

1.      Form of the tradition

- Macro level =

the text is a song about dancing as a custom. It is played along with Pakkarena dance, Makassar’s traditional dance.

Based on the lyrics (context), dance performance is very important since it’s a custom (Adatta') and also entertaining by its dancer (Pakkarena), the dancing/swaying (lengo’ – lengo’), the trumpetter (Pappui’-pui’), and the tambour (Pa’ganrang). It’s performed to entertain the audience in an event and also share knowledge about the dance tradition. The dancers and the singer is girls in Bodo clothes (Makassar’s traditional clothes) with saroong as skrit, and hand-held fan.

Pakkarena dance is used to dedicated to the god and king, for that the dancers tend to lower their faces (co-text). Then, complicated dance movements in Pakarena dance means the complex life cycle. Up and down movements represents the ryhme of living. And, the rhytm of the music is played slowly to show the pureness of the girls as the dancers.

 

- Superstructure =

Introduction 

Ikatte ri turatea, bau' (we, from heaven)

Adatta' marioloa, sayang (It’s our old custom)

E Aule, Pakarenayya (how beautiful, the dancer)

La'biri' ri pa'gaukang (elegant in every event)

 

= this part introduces that people from heaven have an old custom of habits to perform dance in every event.

 

Body

Punna nia' pa'gaukang, bau' (if there’s an event)

Nia' pattempo-tempoang, sayang (there’s a performance, honey)

E Aule, Sukku' baji'na (oh my, it’d be better)

Punna nia' pakarena (if there are dancer)

Pakarena le'ngo-le'ngo, bau’ (the dancer swaying)

Pa'ganrang a'mikki'-mikki', sayang (the tambour enjoying the beats)

E Aule, Pappui'-pui' (how beautiful, the flutist)

Sa'ge rapa' sulengkana (that they sitting cross-legged tightly)

 

= this part shows that in old custom, in every event, there must be a performance which is dancing with a dancer, tambour, and flutist.

 

- micro level =

Ikatte ri turatea, bau' (we, from heaven)

= Ikatte me ans “we” (person deixis, semantic meaning) which refers to the people from heaven.

 

Ikatte ri turatea, bau' (we, from heaven)

= Bau’ is an address to the Bugineese nobles.

 

Adatta' marioloa, sayang (It’s our old custom)

= Adatta means “our custom” (person deixies, semantic), referring to the heaven’s people custom.

Adatta' marioloa, sayang (It’s our old custom)

= Morfem. Marioloa is an affix with ”riolo” (old past) root. prefix “ma” means “have already”, and suffix “a” means “which”. For that, marioloa means that the custom has already been applied.

 

Adatta' marioloa, sayang (It’s our old custom)

= sayang  means “dear”, refers to the listener.

 

E Aule, Pakarenayya (how beautiful, the dancer)

= morphem. Pakarenayya is an affix of “karena” (playing), the prefix “pa” means the actor and the suffix “yya” means “the”. Since the song talks about dancing and performance, pakkarena here means “the dancer”.

 

La'biri' ri pa'gaukang (elegant in every event)

= Moprhem. pa'gaukang is an affix, with “gauk” (event) root, prefix “pa” or “something happening” , and suffix “ang”. For that, pa'gaukang means something to be held.

 

Punna nia' pa'gaukang, bau' (if there’s an event)

Nia' pattempo-tempoang, sayang (there’s is performance, honey)

= It means that, Makasserese always present a performance as an entertaiment in an event (pragmatic meaning).

 

E Aule, Sukku' baji'na (oh my, it’d be better)

= Morpheme. Baji’na is affix with root “baji” (good) and suffix “na” which makes “good” to be “better”.

 

E Aule, Sukku' baji'na (oh my, it’d be better)

Punna nia' pakarena (if there are dancer)

= Its pragmatic’s meaning is included speech act, where it’s better or, the writer wants the Makasserese to hold dance performance in an event because it’s considered as a good custom.

Pakarena le'ngo-le'ngo, bau' (the dancer swaying)

= le’ngo-lengo semantically means they dance following the beats.

 

Pa'ganrang a'mikki'-mikki', sayang (the tambour enjoying the beats)

= Pa’ganrang is affix with ”ganrang” (tambour/the music instrument), prefix “pa” or the actor, so it means the people who play tambour.

 

Pa'ganrang a'mikki'-mikki', sayang (the tambour enjoying the beats)

= a’mikki-mikki’ here means beating, but according to its context (pa’ganrang, as an actor), its semantic’s meaning is that the tambour creating and enjoying the rhymes and beats.

a’mikki-mikki’ is an affix with “mikki” roots (beating), and suffix “a’” (be, being, become), it’s repeated (mikki-mikki) as the tambours shaking their shoulders while enjoying the song.

 

E Aule, Pappui'-pui' (how beautiful, the flutist)

= Pappui'-pui  is affix with “pui-pui” (flute) root, and prefix “pa” or the actor. It means someone who plays flute.

 

Sa'ge rapa' sulengkana (that they sitting cross-legged tightly)

=  morpheme. sulengkana is affix of “sulengka” (thights) and suffix “na” (person diexis, possesion). It means how tight the flutist sit with cross-legged. Its semantic’s meaning is that the flutists is in passion and enjoy the song.

 

2.      The song is composed along with the Pakarena dance which was dedicated to god and kings. Today, it is presented only to entertain.

The song is actually about the relationship between boting langi (people who lives in heaven) and boting lino (people who live in the earth). It can be seen from the first line of the song “Ikatte ri turatea, bau'” which means “we are people from heaven”.

It is said that before they were parted, botang langi taught botang lino how to harvest, farming, or even hunting through some movements of hands, legs, and body. Feeling greatful, botang langi then combined the movements into dancing.

For that, Pakarena dance and song is presented and played for the greatfulness to god who had taught people to live.

 

3.       It can be seen from the lyrics (Adatta' marioloa, sayang) that the dancing become a custom from a long time, and every events is considered to be better with dance performance (E Aule, Sukku' baji'na Punna nia' pakarena). Pakarena is always played along by singer, dancer (pakarena), tambours (pa’ganrang), and flutist (pa’ppui-pui) combining their rhymes. For that, Makassarese tend to present dance performance in every events, from time to time, as a tradition to show their greatfulness to the god and also as an entertaiment for its beautiful art. They believe that god is the one who taught them how to survive their life, and in return people thank him with a performance of dancing. So, the song and dance contain of religion norm as an offering to god.