Journal articles on the topic 'Toraja (Indonesian people) Social life and customs'

Tongkonan is a traditional house of the Toraja people who coincide in the province of South Sulawesi, Indonesia. The architecture of the tongkonan house is known for its distinctive shape through the lower, middle and upper structures which have their own uniqueness or beauty. The tongkonan traditional house, which is full of carvings, has a meaning that symbolizes the social status of the owner. The tongkonan is a place for fostering a family in the unity of harmony and inheritance in every family who is descended from the tongkonan so that it becomes the forerunner which will in turn shape the personality and culture and traditions that have been passed down from generation to generation in every family group or Toraja society. Then the tongkonan which is a traditional house typical of the Toraja people which is used as a place to live, the traditional house of power to become a place of socio-cultural life for the people of Toraja. The method used in this article is the qualitative method and the data collection method is carried out, namely through direct observation which is carried out when holding ceremonies or customs carried out in society, especially the Toraja people. Based on the results of the study, it is shown that one of the implementations of multicultural education is through the tongkonan which is a symbol of unifying the Toraja people where the tongkonan is used as a place to foster kinship regardless of the differences that exist in Toraja society.

One community that has a complex marriage system is Toraja, it is one of the tribes in Indonesia who still maintains their ancestral cultural traditions in their social life. The institutions in the Toraja communities are always associated with aluk (teachings or rules of life). This study aims to describe the educational values and functions in the text ma’parapa (silence) in the procession of rampanan kapa’ (wedding ceremony) in Tana Toraja. This type of research is qualitative research, and the research data is in the form of text quotations that describe the educational value contained in the ma’parapa text in the procession of the rampanan kapa’ in Tana Toraja. The results of this study indicate that the educational value contained in the text ma’parapa in the procession of rampanan kapa’ consists of 1) the value of religious education, namely to educate all people always to be grateful, to trust, and to exalt God’s power, 2) moral education, namely to express respect or in the sense of asking for permission before doing something in front of others by saying the word tabe, 3) social education, which is useful for the community to foster life with its environment, 4) cultural education, namely inviting all people to always maintain and develop marriage customs in it there are procedures for getting married which contain many moral messages that need to be applied in everyday life. The educational function of the ma’parapa text in the procession of rampanan kapa’ in Tana Toraja includes 1) the function of education for family and cultural groups, which is to encourage the younger generation to dare to speak in public, to be able to implement good behavior in daily life -day, and so that the younger generation can interpret advice, and relationships with God Almighty, and 2) to understand aluk rampanan kapa’ as a very sacred level of the ceremony where if there is a violation it will be sanctioned by fellow humans and also from the Creator.

Indonesia and Malaysia are two multicultural countries that have various cultures. This is due to the geographical location of Indonesia which is an archipelagic country that stretches from the western end of Sabang Island to the eastern end of Merauke Island. So in conditions like this, various tribes, customs, ethnic cultures and beliefs emerged in Indonesia. This diversity has both positive and negative impacts. The positive impact is that diversity can strengthen unity, but the negative impact is that it can lead to division. One of the problems that can cause the division of the Indonesian nation is the intolerant behavior of the people. Intolerant behavior often occurs in people's lives in various fields. The fields of politics, economics, religion, social and culture are always inseparable from intolerant attitudes, especially in the development of the flow of information in the current era of globalization. There are many cases that trigger inter-ethnic divisions that circulate in the mass media, especially social media. Therefore, a guide for the Indonesian people is needed to deal with the issue of division, namely Pancasila. Pancasila which is the nation's ideology has values ​​that become the view of life of the Indonesian people which are always relevant to the times, especially in the current era of globalization. By implementing and preserving Pancasila in all areas of people's lives, it means that we are trying to realize a common life that is conditional on the values ​​of unity, kinship, justice, tolerance and humanity.

Indonesia is a multicultural country that has a variety of cultures. This is due to the geographical location of Indonesia which is an archipelagic country that stretches from the western end of Sabang Island to the eastern end of Merauke Island. So in conditions like this, various tribes, customs, ethnic cultures and beliefs emerged in Indonesia. This diversity has both positive and negative impacts. The positive impact is that diversity can strengthen unity, but the negative impact is that it can lead to division. One of the problems that can lead to the division of the Indonesian nation is the intolerant behavior of the people. Intolerant behavior often occurs in people's lives in various fields. The fields of politics, economics, religion, social and culture are always inseparable from intolerant attitudes, especially in the development of the flow of information in the current era of globalization. There are many cases that trigger inter-ethnic divisions that circulate in the mass media, especially social media. Therefore, a guide for the Indonesian people is needed to deal with the issue of division, namely Pancasila. Pancasila which is the nation's ideology has values ​​that become the view of life of the Indonesian people which are always relevant to the times, especially in the current era of globalization. By implementing and preserving Pancasila in all areas of people's lives, it means that we are trying to realize a common life that is conditional on the values ​​of unity, kinship, justice, tolerance and humanity.

Whether humans drive technology or technology capable of moving human life systems is still a debate and a contradiction in the thinking of some humans. Technological progress in Indonesia itself cannot be denied. What is feared is that the diversity of cultures and languages in Indonesia is threatened with extinction. One of the cultures that used to be felt in Indonesia was the culture of finding a mate. In ancient times, searching for a mate used traditional methods or more thick and trusting through elements of the surrounding culture and customs. However, with the development of technology began to erode the custom of finding a mate, which was replaced by technology's role. In this study, researchers focused on how technology replaces the role of culture, customs, and religion in finding someone's mate using social media applications. The theory used is to use determinism technology theory, which tries to prove that technology is starting to replace humans' role. This study took interviews with eight female informants from different ethnicities, religions, and ages. This study indicates that human trust in technology is now greater than the culture or customs that are still held firmly by the Indonesian people.

The Indonesian people had been colonized by the Dutch for 360 years. During that time, many things were done by the Dutch towards Indonesia. The policies issued by the Dutch were much influenced by the advice given by their political advisors. Political advisers (Orientalists) who are quite well known are Stanford Thomas Raffles, William Masrden, and Cristian Snouck Hurgronje. These three political advisors gave accurate advice to the Dutch government in order to influence patterns of social life in Indonesian society. In the field of religion, especially Islam, Thomas S. Raffles and Marsden argue that the teachings of Islam do not give the slightest color to Indonesian culture. Indonesian culture is purely dug out of local customs. Yet in reality, it is the teachings of Islam that characterize the lives of Indonesian people. In the political field, the Dutch were able to conquer the Aceh region on the advice of Snouck Hurgronje who had previously mastered the ins and outs of the Aceh region. In the area of ​​customary law, Snouck with his receptie theory says that indigenous peoples basically only apply customary law; Islamic law can only apply if the norms of Islamic law have been accepted by the community as Adat law. The receptie-Snouck theory, after independence, can be broken by indigenous jurists by proposing their own theories, namely; first, the receptie exit theory by Hazairin. Second, the theory of receptio a contrario by H. Sayuti Thalib, and Third, the theory of existence by H. Ichtijanto SA.

The research departed from the phenomenon of the elimination of elements of local culture in society. One of the causes was the current modernization and globalization of all aspects of life, including traditions and culture. The formation of noble values that were able to pattern the behavior of the Indonesian people was due to the decisive role of customs, which became a culture in people's lives. Although the customs and culture of each region were different, in general, they had the same essential values. Traditional and cultural philosophies that have developed in various parts of the Indonesian nation, on average, instill good and positive moral attitudes and behaviors. This research objective was to find the local wisdom values and the Ghofilinan tradition in the Katimoho Village community. This research was a qualitative method. Data were collected from primary and secondary sources. Primary sources were carried out by direct observation (natural observation). For in-depth review, interviews were carried out. Secondary data was obtained through literature study and village documentation. The research results concluded that the Ghofilin tradition had religious, social, historical, and economic values that coexisted with Islamic values. Islam is a religion with a set of values that have influenced the cultural patterns and traditions of the Katimoho Village community. The meeting of Islamic values with the local wisdom values in the Dzikrul Ghofilin tradition was a process of cultural acculturation. It made the socio-cultural aspects of the local community not necessarily eroded by Islamic teachings.

The problem in this study is the many forms of social reality of the Minangkabau people in Collection of Kaki Yang Terhormat Short Story by Gus Tf Sakai. This problem is the main reference to find out what the social reality of the Minangkabau community is in the Collection of Kaki Yang Terhormat Short Story by Gus Tf Sakai from the perspective of the author. This type of research is qualitative research. The method used in this research is descriptive method. The data in this study are in the form of words, sentences and dialogues related to Minangkabau social reality. The data source in this study is a Collection of Kaki Yang Terhormat Short Story by Gus Tf Sakai. The results of this studyillustrate the social reality of the Minangkabau people that occur from cultures or traditions that have been born from their ancestors, which are customs or that have become identities for the people in Minangkabau or from habits that occur repeatedly and are designated as traditions for the Minangkabau people. Based on this, social reality of the Minangkabau people in Collection of Kaki Yang Terhormat Short Story by Gus Tf Sakai in terms of (1) language, there are Minang languages and Indonesian languages; (2) the science system, regarding takambang nature to become a teacher; (3) social systems / social systems, in the form of traditions that become the identity of the Minangkabaucommunity; (4) equipment / equipment, regarding equipment / characteristics for the Minangkabau community which is a necessity for life and culture of the Minangkabau community; (5) livelihood system, regarding work for the Minangkabau people (6) arts, concerning the motion art possessed by the Minangkabau people namely silek, and (7) religious systems, regarding culture to surau for adolescents in Minangkabau.

The corn tie culture of the Meto tribe is an Indonesian cultural heritage that needs to be preserved and inherited as a form of community responsibility in the midst of an increasingly modern globalization. In addition, the tradition of ikat corn also contains the concepts of high national values for character building. This study aims to identify the cultural values contained in the corn tie tradition to be implemented in learning at school. This research is qualitative research with an ethnographic approach. Data collection is done by reviewing the literature, making observations, conducting interviews, and documenting all activities in the field. The information obtained is then analyzed to describe the results of the exploration of cultural values of tying corn to various customs or traditions, which can be actualized in learning at school. The results of this study indicate that the Meto people already have basic values of life in social life. This can be seen from the results of the exploration that the values contained in the culture of corn tying are religious, nationality, independence, cooperation, and integrity. The culture of this corn tie contains cultural values that can be actualized in learning.

The purpose of this study is to discuss the Semar puppet characters who are Indonesian local culture as a wealth of imagination and a source of creativity in the creation of visual communication design works. This research is a qualitative research, the type of research uses a comprehensive analytical study and analytical normative approach. Indonesian local culture needs to be embraced into a wealth of imagination and a source of creativity for the process of creating advertising design works. By following the prevailing customs, upholding morality, and prioritizing local cultural wisdom to be later appointed as inspiration, source of ideas and ideas, as well as software to communicate various commercial, social, or moral messages to the target audience, existence A visual communication design work will accentuate people's lives, in the end it is expected to be able to enlighten the thoughts and feelings of human beings who live and fill their lives according to their respective talents. The mysterious Semar wayang figure is also part of the religious mythological figure loved by the Javanese people in particular. Therefore, Semar is considered to have high value and value in wayang as part of Javanese life. So, of course the character Semar will be interesting to study more carefully and more deeply in terms of philosophy in an effort to unravel the mystery that surrounds him.

Hinduism in Indonesia has been embraced in various ways. In addition to individual adoption, the conversion to Hinduism has also be performed through religious groups, which later develop by adjusting the local customs. The distinction between one adherent to another is essentially unified by the same theology. Panca Sraddha is one of the binders of Buddhis’ belief to Brahman, Atman, Karmaphala, Punarbhawa or Samsara, and Moksa. By utilizing this similarity, people who belong to Hinduism in Indonesia can live in harmony with other fellow Hindus as well as other religious communities, including Indonesian "indigenous religion" followers. Taking the fact into account; however, there are some Sampradaya or spiritual groups which aim to study the religion deeply by making the Vedic scriptures as the only source of the teachings which might lead them into certain challenging situations in terms of living in harmonious life. The problematic situations were addressed through this qualitative research, which employed interviews, observations, as well as document analysis as source of data. This study concludes that the three religious spiritual groups in Hinduism described in this article are now well-welcomed as an integral part of Indonesian Hindus and members of community in general, although they initially have been rejected at the beginning of their development. In keeping harmony among religious believers, these three spiritual groups, Hare Krishna, Sai Baba, and Brahma Kumaris are actively managing pleasant relations with the Indonesian government, Hindu councils, traditional Hindus, and other religious communities. They have performed strategies of dialogue, cooperation, and social service through humanitarian activities based on love and universal values.

Moslem is a human obedience in submission to Allah SWT. The surrender to Allah SWT consists of spiritual and civic practices based on the Quran and Sahih Hadits. In community practices are influenced by how culture forms in society. Identity is part of the culture and social environment that can be shifted according to the dynamics of society life. Identity revolves around the space and time of every generation in the world of everyday life that comes from human thoughts and actions and evolves into real practice including Chinese culture which became a variety of Nusantara ethnic groups summarized in the activities of the Lautze 2 Mosque. The aim of this article is to examine how a Chinese Muslim as an Indonesian Nation by maintaining Chinese cultural identity without conflicting with religious rules by making the mosque utilizes. The method used is descriptive qualitative method to analyze how the Lautze 2 Mosque in Bandung has an active role in community activities and da’wah. The result show that the Chinese Muslim community has an active role in the utilize of the Lautze 2 Mosque as a means of religious da'wah, has an active role in helping people regardless of ethnicity and customs but still maintaining their identity as Chinese Muslims.

The purpose of this study is to find out a complete picture of local wisdom on the use of Minangkabau proverbs that have contrast meanings by the Minangkabau society in Medan North Sumatera, Indonesia. The research used descriptive qualitative method, by conducting interview as well as questionnaires distribution on provided proverbs to a total of 60 respondents from different regions of Minangkabau community, namely Kota Matsum I, II, III and IV. The data were collected and classified based on the various fields of Social Culture, Economy, Politics, Law, and Religion which were then analyzed by interpreting the meaning of contrast contained in the proverbs relating to the customs and traditions they practiced in daily life. It was found that despite the strong evidence on philosophy of cultural values and openness toward the modernization, this people have been consistently using the contrasted-meaning proverbs in their almost all-different-contexts of conversation. It also showed that the use of Minangkabau language as local language, has contributed to the field of language and literature studies, especially in the area of ethnical proverb that could enrich the repertoire of Indonesian, as the national language.

The purpose of this research is to analyze the existence and role of local wisdom of oral speech culture as the social glue and social harmonization of the people of East Kalimantan. Local wisdom is one of the instruments to reduce or minimize the problems of social conflict, intolerance, radicalism and other forms of violence. One form or form of local wisdom is the local wisdom of oral speech culture as the national glue that has been passed down by our ancestors, the nation's founders as one of the norms, customs and principles in stepping to create calm, peace, glue and harmony in social life and patriotic.The focus of the research, namely: the name of the Local Wisdom of the Oral Culture), the Textual Definition of the local wisdom, the History / Origin of the local wisdom, the description of the implementation of local wisdom in the daily behavior of the community, the Moral Values that are owned / contained from the local wisdom, Evidence in the form of Documents / Photos Portraits as illustrations in life, and the current condition of local wisdom, is it still Live or Live out in the life of the community.The results show the local wisdom of oral speech culture, namely the words of King Senduru when he was crowned the King of Nature can be seen in the Collection of Folk Stories in Kutai, Pemda Kabupaten Kutai, 1977). Moral Value Contained in local wisdom in making decisions should always prioritize deliberation, no one will feel defeated so as to avoid resentment and resentment. Hate and revenge can give birth to the desire to avenge their defeat and this is very bad for the Indonesian people who always prioritize harmony, harmony and unity.Local wisdom is the curse of the Kudungga king. The moral values contained in it are corruption and illegal plunder of the earth since ancient times have been strictly prohibited. So that those who do not heed the curse will have an impact on him either directly or gradually. The local wisdom is still valid today.Local wisdom, said Buen Kesong (Good Heart) from the Paser tribe in Paser Regency, is a source of common strength to harmonize steps in establishing a relationship together. It even illustrates the mystical atmosphere of the people of Paser Regency who have a clean heart in thinking and working, "

On the other hand, the diversity of the multicultural society as the wealth of the Indonesian nation is very prone to triggering conflict and division. The diversity of Indonesian society can at least be seen from its two unique characteristics. First, horizontally, marked by the fact that there are social units based on differences in ethnicity, religion, customs and regional differences. Second, vertically, marked by a sharp vertical difference between the upper and lower layers. Humans as social beings and as individuals always need interaction with others. In social interaction itself there is always conflict or cooperation between them. Thus, conflict can be said to be a natural part of human life. The purpose of this research is to find out. 1. To find out the solutions of state government in resolving social conflicts between Negeri Ureng and Negeri Negeri Lima. 2. To find out the inhibiting factors of state government in resolving social conflicts between Negeri Ureng and Negeri Negeri Lima. The type of research used in this study is descriptive qualitative, namely a systematic factual and accurate description of the factors in the field that are related to matters in the field. The data in this study were collected using observation and documentation methods. Data Analysis Techniques. The data obtained from the results of this study were compiled and analyzed qualitatively, then the data was described descriptively in order to obtain a clear and directed picture of how to answer the problem. The results of the research on the Role of Community Leaders in Resolving Social Conflict in Negeri Ureng and Negeri Lima are very important as, the conflict between these two countries has been going on for so long, so the role of these community leaders is very important because they become pawns to prevent conflict between the two countries, by him it is necessary to further increase the capacity and strengthen the position holders as people who are influential in occupying existing positions in this country so that when there is an issue from these two countries the role of community leaders is very helpful in resolving the conflict.

Jambi is a part of Malay history and customs, therefore Songket fabrics become a common viewduring wedding or royal events. Over time, Songket cloth has become part of the social life used byall strata of the society. This condition makes Songket initiated the establishment of a group ofsmall and medium enterprises (SMEs) in Jambi, dedicated for Songket manufacturing and selling.The effort to develop local culture as a national asset is a duty for all Indonesian people, includingJambi University through the “Darma of Dedication to the community”. Community serviceprogram initiated by the Ministry of Research, Technology and Higher Education through thescheme of Export Product Development Program (PPPE) aims at conducting guidance andassistance for Jambi’s Songket SMEs through product diversification in order to increase thebusiness of SMEs. The methods of assistance used for SMEs include lectures, discussions,training, demonstrations, mentoring and program evaluation. Lectures, discussions, demonstrationsand training were conducted to increase the knowledge about diversification of products madefrom Songket. Further assistance was done for all the discussions that had been given. To measurethe success of the program, the team would conduct an evaluation from the beginning until the endof the program. The assistance provided by the PPPE of University of Jambi to SME partners ofJambi’s Songket business was able to produce wallets, ladies handbags, tracks, clothes, seatcushions, frames and sandals. The strategy of product diversification is able to increase therevenue for the SME involved.

The study of the metaphor in a literary work can be used to find out the author’s creativity in utilizing words to concretize an abstraction through the use of metaphor. Because every human being is essentially unique, each author is assumed to have his/her own style in creating metaphors. The two questions in this article are: 1) how is the typical form of metaphor in Layla Majnun as the embodiment of creativity? ; 2) what is the function of the use of metaphor in Layla Majnun? Based on the analysis of data, a metaphor can be classified into a phrase, clause, and sentence. At the phrasal level, position or location of the image element can be either in the beginning or in the end of the topic. Meanwhile, at the level of the clause and sentence, image elements are always in the end of the topic. This latter sequence is possible because the clause part of the “explained or described” is filled syntactically by the predicate. The predicate in Indonesian is predominantly located after the subject. The study of the use of metaphor in Layla Majnun leads to the conclusion that the creativity of the author in creating metaphor reflected on how human (the author) sees the world. Because human perception is inseparable from the environment in which the author lives, develops, and interacts, the use of metaphor in Layla Majnun reflects an overview of the social life, values of culture, and customs of the Arab people at that time.

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<p><em>The meaning of "ethos" comes from Greek (ethos) which means character or character. Overall, the notion of ethos includes characteristics and attitudes, habits and beliefs, and so on, which are specific about an individual or group of people. From the words "ethos" will appear the words "ethics" and "ethical" which refer to the meaning of "morality / behavior" or are "morality", namely the essential quality of a person or a group, including a group of nations. It is also said that "ethos" means the distinctive soul of a group of people, which from that distinctive soul will develop the nation's view of good and bad, that is, its ethics.</em><em></em></p><p><em>Ahmad Janan Asifudin, citing In the Hand Book of Term Psycology stated that ethos is interpreted as a distinctive view of a social group, a value system that lies behind the customs and procedures of a community. Whereas, Taufiq Abdullah defines it as an evaluative aspect which is a self-assessment of work originating from self-identity which is a sacred value that is the religious spiritual reality that he believes.</em></p><p><em>Whereas the difference between ethos and ethics. The term ethics, theoretically can be divided into two senses. First, ethics comes from the Greek word ethos which means custom (character). In this sense, ethics is related to good life habits, both in oneself and in a society or community group that is passed on from one person to another or from one generation to another.</em></p><p><em>The definition of work, as in the Big Dictionary of Indonesian Language is interpreted as an activity of doing something. El-Qussy as quoted by Ahmad Janan Asifuddin argues that human activities or actions are of two types. First, actions that are related to mental activities, and both actions are done accidentally. The first type has a characteristic of interest, namely to achieve the purpose or realize certain goals. While the second type is a random movement as seen in small baby movements that appear irregular, reflection movements and other movements that occur without the will of the will or thought process.</em></p><p><em>Tata tasmara in his work ethic of a Muslim has an ethos formulation as follows In the form of axioms, Toto summarizes them in the form of a formula: KHI = T, US (M, A, R, A), KHI = Islamic Quality of Life, T = Tawhid, US = Charity piety, M = Motivation, A = Direction of Goals (Aim and Goal / Objectives), R = Taste and Ratio (Thinking and Recitation), A = Action, Actualization.</em></p>

Sharing this article, the act of writing and then having it read, legitimises the point of it – that is, we (and we speak on behalf of each other here) managed to negotiate western academic expectations and norms from a just-as-legitimate-but-not-always-heard female Buginese perspective written in Standard Australian English (not my first choice-of-language and I speak on behalf of myself). At times we transgressed roles, guiding and following each other through different academic, cultural, social, and linguistic domains until we stumbled upon ways of legitimating our entanglement of experiences, when we heard the similar, faint, drum beat across boundaries and journeys.This article is one storying of the results of this four year relationship between a Buginese PhD candidate and an Indigenous Australian supervisor – both in the writing of the article and the processes that we are writing about. This is our process of knowing and validating knowledge through sharing, collaboration and cultural exchange. Neither the successful PhD thesis nor this article draw from authoethnography but they are outcomes of a lived, research standpoint that fiercely fought to centre a Muslim-Buginese perspective as much as possible, due to the nature of a postgraduate program. In the effort to find a way to not privilege Western ways of knowing to the detriment of my standpoint and position, we had to find a way to at times privilege my way of knowing the world alongside a Western one. There had to be a beat that transgressed cultural and linguistic differences and that allowed for a legitimised dialogic, intersubjective dance.The PhD research focused on potential dialogue between Australian culture and Buginese culture in terms of feminism and its resulting cultural hybridity where some Australian feminist thoughts are applicable to Buginese culture but some are not. Therefore, the PhD study centred a Buginese standpoint while moving back and forth amongst Australian feminist discourses and the dominant expectations of a western academic process. The PhD research was part of a greater Indonesian tertiary movement to include, study, challenge and extend feminist literary programs and how this could be respectfully and culturally appropriately achieved. This article is written by both of us but the core knowledge comes from a Buginese standpoint, that is, the principal supervisor learned from the PhD candidate and then applied her understanding of Indigenous standpoint theory, Tuhiwahi Smith’s decolonising methodologies and Spivakian self-reflexivity to aid the candidate’s development of her dancing methodology. For this reason, the rest of this article is written from the first-person perspective of Dr Abbas.The PhD study was a literary analysis on five stories from Helen Garner’s Postcards from Surfers (1985). My work translated these five stories from English into Indonesian and discussed some challenges that occurred in the process of translation. By using Edward Said’s work on contrapuntal reading and Robert Warrior’s metaphor of the subaltern dancing, I, the embodied learner and the cultural translator, moved back and forth between Buginese culture and Australian culture to consider how Australian women and men are represented and how mainstream Australian society engages with, or challenges, discourses of patriarchy and power. This movement back and forth was theorised as ‘dancing’. Ultimately, another dance was performed at the end of the thesis waltz between the work which centred my Buginese standpoint and academia as a Western tertiary institution.I have been dancing with Australian feminism for over four years. My use of the word ‘dancing’ signified my challenge to articulate and engage with Australian culture, literature, and feminism by viewing it from a Buginese perspective as opposed to a ‘Non-Western’ perspective. As a Buginese woman and scholar, I centred my specific cultural standpoints instead of accepting them generally and therefore dismissed the altering label of ‘Non-Western’. Juxtaposing Australian feminism with Buginese culture was not easy. However, as my research progressed I saw interesting cultural differences between Australian and Buginese cultures that could result in a hybridized way of engaging feminist issues. At times, my cultural standpoint took the lead in directing the research or the point, at other times a Western beat was more prominent, for example, using the English language to voice my work.The Buginese, also known as the Bugis, along with the Makassar, the Mandar, and the Toraja, are one of the four main ethnic groups of the province of South Sulawesi in Indonesia. The population of the Buginese in South Sulawesi spreads into major states (Bone, Wajo, Soppeng, and Sidenreng) and some minor states (Pare-Pare, Suppa, and Sinjai). Like other ethnic groups living in other islands of Indonesia such as the Javanese, the Sundanese, the Minang, the Batak, the Balinese, and the Ambonese, the Buginese have their own culture and traditions. The Buginese, especially those who live in the villages, are still bounded strictly by ade’ (custom) or pangadereng (customary law). This concept of ade’ provides living guidelines for Buginese and consists of five components including ade’, bicara, rapang, wari’, and sara’. Pelras clarifies that pangadereng is ‘adat-hood’, a corpus of interlinked ruling principles which, besides ade’ (custom), includes also bicara (jurisprudence), rapang (models of good behaviour which ensure the proper functioning of society), wari’ (rules of descent and hierarchy) and sara’ (Islamic law and institution, derived from the Arabic shari’a) (190). So, pangadereng is an overall norm which includes advice on how Buginese should behave towards fellow human beings and social institutions on a reciprocal basis. In addition, the Buginese together with Makassarese, mind what is called siri’ (honour and shame), that is the sense of honour and shame. In the life of the Buginese-Makassar people, the most basic element is siri’. For them, no other value merits to be more detected and preserved. Siri’ is their life, their self-respect and their dignity. This is why, in order to uphold and to defend it when it has been stained or they consider it has been stained by somebody, the Bugis-Makassar people are ready to sacrifice everything, including their most precious life, for the sake of its restoration. So goes the saying.... ‘When one’s honour is at stake, without any afterthought one fights’ (Pelras 206).Buginese is one of Indonesia’s ethnic groups where men and women are intended to perform equal roles in society, especially those who live in the Buginese states of South Sulawesi where they are still bound strictly by ade’ (custom) or pangadereng (customary law). These two basic concepts are guidelines for daily life, both in the family and the work place. Buginese also praise what is called siri’, a sense of honour and shame. It is because of this sense of honour and shame that we have a saying, siri’ emmi ri onroang ri lino (people live only for siri’) which means one lives only for honour and prestige. Siri’ had to remain a guiding principle in my theoretical and methodological approach to my PhD research. It is also a guiding principle in the resulting pedagogical praxis that this work has established for my course in Australian culture and literature at Hasanuddin University. I was not prepared to compromise my own ethical and cultural identity and position yet will admit, at times, I felt pressured to do so if I was going to be seen to be performing legitimate scholarly work. Novera argues that:Little research has focused specifically on the adjustment of Indonesian students in Australia. Hasanah (1997) and Philips (1994) note that Indonesian students encounter difficulties in fulfilling certain Western academic requirements, particularly in relation to critical thinking. These studies do not explore the broad range of academic and social problems. Yet this is a fruitful area for research, not just because of the importance of Indonesian students to Australia, and the importance of the Australia-Indonesia relationship to both neighbouring nations, but also because adjustment problems are magnified by cultural differences. There are clear differences between Indonesian and Australian cultures, so that a study of Indonesian students in Australia might also be of broader academic interest […]Studies of international student adjustment discuss a range of problems, including the pressures created by new role and behavioural expectations, language difficulties, financial problems, social difficulties, homesickness, difficulties in dealing with university and other authorities, academic difficulties, and lack of assertiveness inside and outside the classroom. (467)While both my supervisor and I would agree that I faced all of these obstacles during my PhD candidature, this article is focusing solely on the battle to present my methodology, a dialogic encounter between Buginese feminism and mainstream Australian culture using Helen Garner’s short stories, to a Western process and have it be “legitimised”. Endang writes that short stories are becoming more popular in the industrial era in Indonesia and they have become vehicles for writers to articulate the realities of social life such as poverty, marginalization, and unfairness (141-144). In addition, Noor states that the short story has become a new literary form particularly effective for assisting writers in their goal to help the marginalized because its shortness can function as a weapon to directly “scoop up” the targeted issues and “knock them out at a blow” (Endang 144-145). Indeed, Helen Garner uses short stories in a way similar to that described by Endang: as a defiant act towards the government and current circumstances (145). My study of Helen Garner’s short stories explored the way her stories engage with and resist gender relations and inequality between men and women in Australian society through four themes prevalent in the narratives: the kitchen, landscape, language, and sexuality. I wrote my thesis in standard Australian English and I complied with expected forms, formatting, referencing, structuring etc. My thesis also included the Buginese translations of some of Garner’s work. However, the theoretical approaches that informed my analysis cannot be separated from the personal. In the title, I use the term ‘dancing’ to indicate a dialogue with white Australian women by moving back and forth between Australian culture and Buginese culture. I use the term ‘dancing’ as an extension of Edward Said’s work on contrapuntal reading but employ it as a signifier of my movement between insider and outsider (of Australian feminism), that is, I extend it from just a literary reading to a whole body experience. According to Ashcroft and Ahluwalia, the “essence of Said’s argument is to know something is to have power over it, and conversely, to have power is to know the world in your own terms” (83). Ashcroft and Ahluwalia add how through music, particularly the work of pianist Glenn Gould, Said formulated a way of reading imperial and postcolonial texts contrapuntally. Such a reading acknowledges the hybridity of cultures, histories and literatures, allowing the reader to move back and forth between an internal and an external standpoint of cultural references and attitudes in “an effort to draw out, extend, give emphasis and voice to what is silent or marginally present or ideologically represented” (Said 66). While theorising about the potential dance between Australian and Buginese feminisms in my work, I was living the dance in my day-to-day Australian university experience. Trying to accommodate the expected requirements of a PhD thesis, while at the same time ensuring that I maintained my own personal, cultural and professional dignity, that is ade’, and siri’, required some fancy footwork. Siri’ is central to my Buginese worldview and had to be positioned as such in my PhD thesis. Also, the realities that women are still marginalized and that gender inequality and disparities persist in Indonesian society become a motivation to carry out my PhD study. The opportunity to study Australian culture and literature in that country, allowed me to increase my global and local complexity as an individual, what Pieterse refers to as “ a process of hybridization” and to become as Beck terms an “actor” and “manager’’ of my life (as cited in Edmunds 1). Gaining greater autonomy and reconceptualising both masculinity and femininity, while dominant themes in Garner’s work, are also issues I address in my personal and professional goals. In other words, this study resulted in hybridized knowledge of Australian concepts of feminism and Buginese societies that offers a reference for students to understand and engage with different feminist thought. By learning how feminism is understood differently by Australians and Buginese, my Indonesian students can decide what aspects of feminist ideas from a Western perspective can be applied to Buginese culture without transgressing Buginese customs and habits.There are few Australian literary works that have been translated into Indonesian. Those that have include Peter Carey’s True History of the Kelly Gang (2007) and My Life is a Fake (2009), James Vance Marshall’s Walkabout (1957), Emma Darcy’s The Billionaire Bridegroom (2010) , Sally Morgan’s My Place (1987), and Colleen McCullogh’s The Thorn Birds (1978). My translation of five short stories from Postcards from Surfers complemented these works and enriched the diversity of Indonesian translations of world literary works, the bulk of which tends to come from the United Kingdom, America, the Middle East, and Japan. However, actually getting through the process of PhD research followed by examination required my supervisor and I to negotiate cross-cultural terrain, academic agendas and Western expectations of what legitimate thesis writing should look like. Employing Said’s contrapuntal pedagogy and Warrior’s notion of subaltern dancing became my illegitimate methodological frame.Said points out that contrapuntal analysis means that students and teachers can cross-culturally “elucidate a complex and uneven topography” (318). He adds that “we must be able to think through and interpret together experiences that are discrepant, each with its particular agenda and pace of development, its own internal formations, its internal coherence and system of external relationships, all of them co-existing and interacting with others” (32). Contrapuntal is a metaphor Said derived from musical theory, meaning to counterpoint or add a rhythm or melody, in this case, Buginese and Anglo-Australian feminisms. Warrior argues for an indigenous critique of how power and knowledge is read and in doing so he writes that “the subaltern can dance, and so sometimes can the intellectual” (85). In his rereading of Spivak, he argues that subaltern and intellectual positions can meet “and in meeting, create the possibility of communication” (86). He refers to this as dancing partly because it implicitly acknowledges without silencing the voices of the subaltern (once the subaltern speaks it is no longer the subaltern, so the notion of dancing allows for communication, “a movement from subalternity to something else” (90) which can mark “a new sort of non-complicitous relationship to a family, community or class of origin” (91). By “non-complicit” Warrior means that when a member of the subaltern becomes a scholar and therefore a member of those who historically silence the subaltern, there are other methods for communicating, of moving, between political and cultural spaces that allow for a multiplicity of voices and responses. Warrior uses a traditional Osage in-losh-ka dance as an example of how he physically and intellectually interacts with multiple voices and positions:While the music plays, our usual differences, including subalternity and intellectuality, and even gender in its own way, are levelled. For those of us moving to the music, the rules change, and those who know the steps and the songs and those who can keep up with the whirl of bodies, music and colours hold nearly every advantage over station or money. The music ends, of course, but I know I take my knowledge of the dance away and into my life as a critic, and I would argue that those levelled moments remain with us after we leave the drum, change our clothes, and go back to the rest of our lives. (93)For Warrior, the dance becomes theory into practice. For me, it became not only a way to soundly and “appropriately” present my methodology and purpose, but it also became my day to day interactions, as a female Buginese scholar, with western, Australian academic and cultural worldviews and expectations.One of the biggest movements I had to justify was my use of the first person “I”, in my thesis, to signify my identity as a Buginese woman and position myself as an insider of my community with a hybrid western feminism with Australia in mind. Perrault argues that “Writing “I” has been an emancipatory project for women” (2). In the context of my PhD thesis, uttering ‘I’ confirmed my position and aims. However, this act of explicitly situating my own identity and cultural position in my research and thesis was considered one of the more illegitimate acts. In one of the examiner reports, it was stated that situating myself centrally was fraught but that I managed to avoid the pitfalls. Judy Long argues that writing in the female first person challenges patriarchal control and order (127). For me, writing in the first person was essential if I had any chance of maintaining my Buginese identity and voice, in both my thesis and in my Australian tertiary experience. As Trinh-Minh writes, “S/he who writes, writes. In uncertainty, in necessity. And does not ask whether s/he is given permission to do so or not” (8).Van Dijk, cited in Hamilton, notes that the west and north are bound by an academic ethnocentrism and this is a particular area my own research had to negotiate. Methodologically I provided a comparative rather than a universalising perspective, engaging with middle-class, heterosexual, western, white women feminism but not privileging them. It is important for Buginese to use language discourses as a weapon to gain power, particularly because as McGlynn claims, “generally Indonesians are not particularly outspoken” (38). My research was shaped by a combination of ongoing dedication to promote women’s empowerment in the Buginese context and my role as an academic teaching English literature at the university level. I applied interpretive principles that will enable my students to see how the ideas of feminism conveyed through western literature can positively improve the quality of women’s lives and be implemented in Buginese culture without compromising our identity as Indonesians and Buginese people. At the same time, my literary translation provides a cultural comparison with Australia that allows a space for further conversations to occur. However, while attempting to negotiate western and Indonesian discourses in my thesis, I was also physically and emotionally trying to negotiate how to do this as a Muslim Buginese female PhD candidate in an Anglo-Australian academic institution. The notion of ‘dancing’ was employed as a signifier of movement between insider and outsider knowledge. Throughout the research process and my thesis I ‘danced’ with Australian feminism, traditional patriarchal Buginese society, Western academic expectations and my own emerging Indonesian feminist perspective. To ensure siri’ remained the pedagogical and ethical basis of my approach I applied Edward Said’s work on contrapuntal reading and Robert Warrior’s employment of a traditional Osage dance as a self-reflexive, embodied praxis, that is, I extended it from just a literary reading to a whole body experience. The notion of ‘dance’ allows for movement, change, contact, tension, touch and distance: it means that for those who have historically been marginalised or confined, they are no longer silenced. The metaphoric act of dancing allowed me to legitimise my PhD work – it was successfully awarded – and to negotiate a western tertiary institute in Australia with my own Buginese knowledge, culture and purpose.ReferencesAshcroft., B., and P. Ahluwalia. Edward Said. London: Routledge, 1999.Carey, Peter. True History of the Kelly Gang: A Novel. Random House LLC, 2007.Carey, Peter. My Life as a Fake: A NNovel. Random House LLC, 2009.Darcy, Emma. Billionaire Bridegroom 2319. Harlequin, 2010.Endang, Fransisca. "Disseminating Indonesian Postcoloniality into English Literature (a Case Study of 'Clara')." Jurnal Sastra Inggris 8.2: 2008.Edmunds, Kim. "The Impact of an Australian Higher Education on Gender Relations in Indonesia." ISANA International Conference "Student Success in International Education", 2007Garner, Helen. Postcards from Surfers. Melbourne: McPhee/Gribble, 1985.Hamilton, Deborah, Deborah Schriffrin, and Heidi E. Tannen, ed. The Handbook of Discourse Analysis. Victoria: Balckwll, 2001.Long, Judy. 1999. Telling Women's Lives: Subject/Narrator/Reader/Text. New York: New York UP, 1999.McGlynn, John H. "Silent Voices, Muted Expressions: Indonesian Literature Today." Manoa 12.1 (2000): 38-44.Morgan, Sally. My Place. Fremantle Press, 1987.Pelras, Christian. The Bugis. Oxford: Blackwell, 1996. Perreault, Jeanne. Writing Selves: Contemporary Feminist Autography. London & Minneapolis: University of Minnesota, 1995.Pieterse, J.N. Globalisation as Hybridisation. In M. Featherstone, S. Lash, and R. Robertson, eds., Global Modernities. London: Sage Publications, 1995.Marshall, James V. Walkabout. London: Puffin, 1957.McCullough, C. The Thorn Birds Sydney: Harper Collins, 1978.Minh-ha, Trinh T. Woman, Native, Other: Writing, Postcoloniality and Feminism. Bloomington: Indiana University, 1989.Novera, Isvet Amri. "Indonesian Postgraduate Students Studying in Australia: An Examination of Their Academic, Social and Cultural Experiences." International Education Journal 5.4 (2004): 475-487.Said, Edward. Culture and Imperialism. New York: Vintage Book, 1993. Smith, Linda Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. Zed Books, 1999.Spivak, Gayatri Chakravorty. "Can the Subaltern Speak?" In C. Nelson and L. Grossberg, eds., Marxism and Interpretation of Culture. Chicago: University of lllinois, 1988. 271-313.Spivak, Gayatri Chakravorty. In Other Worlds: Essays in Cultural Politics. New York: Routledge, 1988.Warrior, Robert. ""The Subaltern Can Dance, and So Sometimes Can the Intellectual." Interventions: International Journal of Postcolonial Studies 13.1 (2011): 85-94.

The political rifts and tensions after the 2014 elections cannot just disappear, they even penetrate to the grassroots and are increasingly felt to be able to shake the Indonesian nationality. Political rifts and tensions spread to social aspects and cause discomfort for people who want to live in peace. In fact, during the 76 years of Indonesia which was formed by the fathers of the Indonesian nation, it has proven its determination in building Indonesian unity. Therefore, we must study and reflect on how Indonesia builds its nationality through one of the texts entitled the Simbur Light Law. The text describes the strength of building identity, applying local wisdom values ​​in strengthening customs, and teaching democratic ways of life. The purpose of this research is to explore and find out how identity is built and the national values ​​that become the local wisdom of the Palembang people are held. The method used is a qualitative approach with analysis and interpretation of the text. From the results of the study, it was found that the people of Palembang have a strong and high sense of nationality. This sense of nationality is evidenced by a strong strong identity supported by firmness in holding on to customs, and building a high sense of solidarity with a democratic system that is adhered to together. The values ​​that become local wisdom are also applied in their social behavior. In conclusion, the text of the Undang-Undang Simbur Cahaya can be a reference for national life. --- Keretakan dan ketegangan politik setelah pemilu 2014 tidak dapat hilang begitu saja bahkan menyerap ke akar rumput dan semakin dirasa dapat menggoyah kebangsaan Indonesia. Keretakan dan ketegangan politik merambat ke aspek sosial dan menimbulkan rasa tidak nyaman bagi masyarakat yang ingin hidup damai. Padahal selama 76 tahun keindonesiaa yang dibentuk oleh para bapak bangsa Indonesia telah membuktikan keteguhanannya dalam membangun persatuan Indonesia. Oleh sebab itu, kita harus belajar dan merefleksi cara Indonesia membangun kebangsaan melalui salah satu naskah yang berjudul Undang-Undang Simbur Cahaya. Dalam naskah itu digambarkan kuatnya membangun identitas, menerapkan nilai-nilai kearifan lokal dalam memperkuat adat, dan pengajaran cara hidup berdemokrasi. Tujuan penelitian ini menelusuri dan menemukan bagaimana identitas dibangun dan nilai-nilai kebangsaan yang menjadi kearifan lokal masyarakat Palembang dipegang. Metode yang digunakan adalah pendekatan kualitatif dengan analisis dan interpretasi teks tersebut Dari hasil penelitian ditemukan bahwa masyarakat Palembang memiliki rasa kebangsaan kuat dan tinggi. Rasa kebangsaan itu dibuktikan dengan kuatnya identitas yang kuat didukung oleh keteguhan memegang adat, dan membangun rasa solidaritas yang tinggi dengan sistem demokrasi yang dipatuhi bersama. Nilai-nilai yang menjadi kearifan lokal juga diterapkan dalam perilaku sosialnya. Kesimpulannya naskah Undang-Undang Simbur Cahaya dapat menjadi rujukan untuk kehidupan berkebangsaan.

Customary law communities in their customary environment generally carry on the customs that have been passed down from generation to generation from the past and have developed until now. This also applies to the Toba Batak indigenous people in North Sumatra. The Batak Toba community is a genealogical legal community, namely an organized community unit, where the members are bound to a common lineage from one ancestor, either directly because of blood relations (descendants) or indirectly because of marital ties or customary ties. [Hilman Hadikusuma, Introduction to Indonesian Customary Law. In carrying out the customs that exist in the Toba Batak indigenous people, a customary institution is known, namely dalihan natolu. Dalihan Na Tolu is a kinship in the Toba Batak community. This system consists of three elements whose composition consists of dongan tubu or dongan sauntunga, namely people who are of the same clan (brethren of the clan), hula-hula, namely the wife who gives the wife (the wife's parents), and boru, which is the wife who receives or takes wife of a clan group. [Bungaran Antonius Simanjuntak, Meaning of Land Functions for the Batak Toba, Karo, Simalungun community. In the Toba Batak community, the term Parulosan is also known. Ulos is a piece of woven cloth, which is very likely to have existed long ago in the life of the Batak people, especially the Toba Batak. In addition, the term available in the Toba Batak language on ulos contains the meaning of the word about weaving. "Ulos is as old as the Toba Batak civilization, so that it accompanies the life of the Toba Batak people." The method of giving ulos also provides a description of the procedures for the patterns of the Toba Batak social system. “In the Toba Batak custom there is a provision that not everyone has the right to give ulos and not everyone also receives ulos. People who give ulos according to custom are hula-hula/bones. This is based on the Dalihan Na Tolu Batak custom. The main rule is that a person can only give ulos to people according to their lower family ties. For example, the child is under the father, the younger brother is under the brother, and the boru is under the hula-hula. Giving ulos to people above us is prohibited. Boru is never allowed to give ulos to hula-hula.

Messages that have the same meaning as the word will in Indonesian are a classic Buginese literary form which is still lived up to and adhered to by people with a background in Buginese language and culture. These messages serve as a means of gluing interpersonal relationships and a source of laws and regulations capable of fulfilling thoughts, orders from people who are honest, behave politely, know customs, and manners in social life. This paper describes a number of values and moral teachings as a reflection of the local wisdom of Buginese culture which is still valid in society. A part from that, its various benefits will also be described and wise efforts have been made to ensure that this type of literary is lived up to and adhered to throughout the ages. The approach used in this study uses two theories, namely, the pragmatic approach and the sociology of literary. The methods and techniques used in this study are descriptive methods. Data collection, used recording techniques, interviews, recording, and literary study. Based on the results of the report, it can be discussed some of the noble values in Pappasenna To Maccae ri Luwu Sibawa Kajao Laliqdong Ri Bone, namely (1) honesty, (2) Persistence, and (3) self-esteem (envious).