Oleh Hat Pujiati*
#Language Editor: Irana Astutiningsih
published prosidings “Character
Building through Language, Culture, Arts, and Their Learning” of the 3rd
International Seminar On Languages and Arts Facilty of Languages and Arts State
University of Padang 17-18 October 2014, Padang;FBS UNP (page 212)
This article is a part of my
research entitled Model Pengembangan Komunitas
Sastra Berbasis Lokalitas: Meretas Jalan bagi Industri Kreatif Kesastraan di Wilayah Tapal Kuda that find models of literary works develops
in literary communities based on locality in Horseshoe area, East Java so that
I can map and design their dessemination nationally and Internationally. In this article I discusses literary works authored by those who live in ‘Pesantren’ in Jember and
Situbondo, East Java, as medium
of practicing language in Pesantren community. Through the voices presented in Tartila, a novel by Arifa
from Al-Falah Jember and in poetry anthology entitled Kasidah Air Mata by Zainul
Walid from Pesantren Salafyah
Syafi’iyah Sukorejo- Situbondo, this article questions the following three
questions in order to find the ideology of the authors with their locality as a
means to humanize human in human civilization. Firstly, it elaborates how
locality is presented in the two works. Secondly, it demonstrates authors’ world
views (Vision du Monde) on
humanity. Thirdly, it digs out the causes of the world views existence
on those authors. Lucien Goldmann’s genetic Structuralism is used in this
article to analyze the data, and Derrida’s deconstruction is used as the
method. Meanwhile, postcolonial concepts are used to explain condition of
hybrid identity in a part of horseshoe area (Banyuwangi-Jember-Situbondo)
Keywords:
ideology, pesantren,World view, genetic structuralism, hybrid
*a lecturer at Faculty of Letters - Jember
University
Human to Human Whispers from ‘Pesantren[2]’
Chambers: Locality in Ideological Voices of the Authors as a Communication in
Human Civilization[3]
Rationale
After centralized tendency in rule of the game in modern era (Lyotard:2009;36), deployment and
flexibility of peripheral sphere taking over the game underneath postmodern
canopy. As the game changes, rule of the game also changes. The changes rule
reifies the development of Indonesian literature nowadays in the form of works
using indie publishing. Such works used to be categorized as popular and tend
to be underestimated compare to what categorized as canonic works. However, the
mass production of indie works in different places and at the same time must be
count as something since it is consumed by many people and it influences many
people. Literary awards also varied which means
literature assessment does not depend
on one group.
Furthermore, the spread and the development of fringe literature inspire
literary communities to publish their writings and it gives birth to their own
mashab. No more dichotomizing of peripheral and paramount literature based on
the geographical map of the works (such city or country). Literary works are
also produced by those come from many different societies, different social
classes and different educational background in Indonesia. Even writing
literary works become a mass movements in Forum Lingkar Pena’s hand (..) they
empowering workers, students, and also those who live in Pesantren. Inevitably,
their works that spread nationally and Internationally through the networks
become Indonesian literary works since it talks about life of Indonesian, worlds
and perspective of Indonesian and using Bahasa Indonesia.
As the change of the mainstream view upon paramount and peripheral,
through this article I discusses the works of literature of those who live in
pesantren in Jember and Situbondo as language practices in pesantren society.
There are voices in Tartila (a novel by Arifa dari
Al- Falah Jember) and Kasidah Air Mata (an
anthology of poetry by pesantren
Salafiyah Syafi’iyah Sukorejo-Situbondo by Zainul Walid),and in this article I question three
things. Firstly, how locality is presented in the two works?. Secondly, how are the authors’ world
views on humanity?. Thirdly, why
such world view of humanity exist in those authors?
I use Lucien Goldmann’s genetic structuralism to answer first and second questions because the theory takes a literary work as a significant
structure while the third question is A literary work represents the society’s social structure that is
mediated by the author. Life experiences of the author are not taken as
personal experiences of the author, but a part of the society since an author
is a member of a society. What is written in a literary works viewed as the
author’s respond on problems in life (Goldmann:1981:75 dan Faruk: 2009:28). A world view exists in a work relates the
author with the society. World view is a totality of thought and feeling about
things and this view distinguishes a group of a society with the other groups.
Furthermore, human facts presented in a literary work become a bridge between a
human writer and human readers so that the work is fathomable. This article
worked through finding the structure of the literary works and relates them to
the life of the author to reveal the social structure of the society of the
authors’ live. Moreover, primary data used in this article are all the facts
and information about views on humanity in the works and also the life of the
authors. Secondary data of this article are facts and information about the
society of the authors come from and also history of modern and traditional
Pesantren in Indonesia.
This
article also uses deconstruction method derived from Derrida’s concepts to
recognizes thesis and anti-thesis in the text as a structure that presented in
semantic poles using binary opposition. In Derrida’s thesis, binary opposition
represented paramount and peripheral. Derrida deconstructs Saussures thesis
that puts writing as representation of speech and it is speech that represents
present subject. In other words, speech is taken as the centre that has a
higher position than writing since speech has a possibility on auto-affection[4].
While in Derrida postulates that substance
or essence is not exist, it is onlythe representation of form. Furthermore,
Derrida explained that the present speech is repeating writing. Speech is not
present, but represent. Derrida’s explanation on speech and writing is a
revision on writing and speech, that writing is secondary since everything is
just a representation that rupturing total subject presentation continually.
Reality is constructed like writing, and writing is a system of differences and
equality or what Derrida said as difference – defferance. In this article, Derrida’s Deconstruction
as method is applied in placing data in binary opposition of its semantic poles
in order to know the rapture of ideologies in the text.
Locality in Literary Works
Locality
is a growing issue in the canopy of postmodern culture as a form of
counter-narratives in modern works with paramount priority. Asia is always
synonymous with its tradisionalism and exoticism in Western literary
production. Asia and Africa is seen equally in terms of sexiness themes
presented literary work because it is still considered to be close to the
traditionalism. Broadly speaking, there are several themes that are presented
in the locality of the global literature, namely (1) the issue of local
cultural and religious life; (2) the exotic culture and landscape that offers
ecstasy in the midst of modernity and ecological issues; (3) post-independence
political issues and criticism of the homeland; (4) gender issues in local
communities and the influence of Western
thought in gender discursive; and, (5) cultural hybridity takes place in the
local community as a consequence of modernity and the persistence to negotiate
traditional culture.
On the Sacred in African Literature: Old Gods and New
Worlds written by Mark Mathuray (2009), Magical
Realism and the Postcolonial Novel Between Faith and Irreverence (2009) Christopher Warnes, Culinary
Fiction, Food in South Asian Diasporic Culture (2010) by Anita Mannur, and Contemporary Arab Women Writers: Cultural
expression in context (2007) by Anastasia Valassopoulos are books that highlight
the locality in literary works with the tendency of the five
points mentioned before. In other words, locality
is the specificity that distinguishes non-Western world and that become a power of penetrating globalization.
In the context of literary production in
Indonesia, some writers
post-1998 also began to look-back issues of
locality. Saman
(Ayu Utami) and
Laskar Pelangi (Andrea Hirata) are
two examples of literary
works that raised locality
in the respective literary tastes. In
Saman, Ayu Utami tried to
raise the issue of gender and locality as the unseen nature without pretending to make a stigma
against both these issues. That is, Ayu gave
a new interpretation that came out of
the old paradigm on both these issues. Meanwhile,
Hirata still tends to be nostalgic in looking at the locality in the New Order (Orde Baru). Children who live in
Bangka Belitung make friends with exotica of nature as
well as poor conditions around the stannary in their daily life. The story exposed their
fight in achieving their dreams for education.
Moreover, literary works which come with
Islamic nuance, pioneered by Helvi Tiana Rosa in Forum Lingkar Pena (FLP),
bring the world of Islam in Indonesian society. Matapena is also a community
beneath the same canopy with FLP that has paved literature to Pesantren
chambers and make it not only read but also written by those who live in pesantren to readers who
are not segmented by religion. The locality of Pesantren life becomes a
specific marker of literary works produced in Pesantren chambers itself and
coloring in the Indonesian pluralism.
Literary Works from Pesantren Chambers
Pesantren is an Islamic educational institution with
dormitory system with five important points in categorizing it; 1) a priest as the central figure in the
institution, 2) students called santri
who become the subjects of religious activities lead by the priest in Pesantren
envienment, 3) a mosque as a centre of main activities (teaching and learning),
4) dorms or boarding for the students, 5) the teaching of Islam under the
guidance of the priest using yellow holly book (Mahdi:2013). The history of
education in Pesantren as centers of
resistance against the colonial in
Indonesia has experienced the glory
and dims in
the modernization of education in Indonesia (Hasan: 2014). Most pesantren in
Indonesia are very thick with the
traditional culture of the local community. Learning religion became the
focus of one's educational
space. However, in
line with community needs for
public education, Pesantren began to
open up space for
modern education. The students equipped with religious
knowledge and general knowledge
at the same time that they are ready to compete with
those outside the pesantren. In recent years, the literature again became the focus of several pesantren
in Indonesia. Literature is
taught at the school in both the
formal and informal classes. Then, the
current literature also born in Islamic schools by raising a variety of
life issues
Tartila: Between Modern and Traditional
Tartila is a novel tells about a
nineteen year old girl named Tartila who studying
at Pesantren in Madura Island. She ran
away from home because of an
arranged marriage by her parents
like most of my
friends in pesantren. On the way home
she fled to
his uncle in Jember,
she met his
friend Laffan and
fell in love, unfortunately Laffan was about to get
married with Zahrah. Finally Tartilla can
only undemonstrative and thought Laffan
has been married at
a meeting at the end of the story.
This plot is left open with no explanation whether
Laffan had actually
married or annul his marriage
because he was
not ready to declare
his marriage to his
brother in the story of the previous chapter.
This little novel Tartila builds binary oppositions in the body of the text and its semantics poles are described as follows:
This little novel Tartila builds binary oppositions in the body of the text and its semantics poles are described as follows:
Pesantren
Rules
|
Rebelling
Desire
Dating
Child
|
Obeying
Reality
Engagement
Father
|
Uncle
|
Human
|
God
|
Conservatives
Traditional
Madura
|
Educated
Modern
Java
|
Jember
Negotiation
Home
Outside
|
Effort
|
Starting from pesantren as a central space of the story, it builds rigid religious
dogmatic rules. Togetherness in
the space labeled
beneath the same ideological canopy;
Islam. Pesantren as a study center with Islamic
standards of behavior, ways of thinking and living,
students of pesantren take the rules as rules that are too strict and no longer up to date in modern way of life. Humans
cannot be tamed entirely
on the side of humanity; humans have a desire
to make it human.
Then the female
students in the story twisted
rules with the use of mobile phones brought and leased by Ria the bat[5]
student (Arifa: 2012: 10). In the religious concepts of Islam, there is no dating so
that dating is also
forbidden for the
whole pesantren to establish
a relationship of love, but Tartila "desires"
to break through the forbidden lines are
like mostly done by her friends: Rifmi for example. Thus,
the students obey the rules but
at the same time they break the rules
in particular items. Separation of the
opposite sex in early ages makes a female student like
Tartila assumes that male creatures are astounding as stated in the novel
as follows:
Bagi gadis itu, lelaki adalah makhluk asing . Barangkali bisa dikatakan
alien, makhluk luar angkasa yang tidak pernah Tila kenal. Dunia kaum lelaki
tidak pernah dia jamah, walaupun hanya dalam batas terluar pun. Sejak lulus SD
pada usia dua belas tahun, keluarganya langsung memondokkan Tila di pesantran
al-Ihsan salah satu pesantren terbesar di Madura, tak jauh dari desanya. Dengan
usia itu seperti itu, Tila belum pernah merasakan ketertarikan pada lawan
jenisnya. Bahkan belum benar-benar mengenal keluarganya. (Arifa:2012:6-7)
To the girl, men are like aliens. Perhaps they can be said aliens, out
space creatures that Tila never knew before. She never touches the men’s life,
even the outer part. Since
graduating from elementary school at the age of twelve, her family immediately
housed Tila in pesantran al-Ihsan, one of the largest Pesantren in Madura, not
far from her village. At the age, Tila has never felt an interest in the
opposite sex. Not even really know her family.
(Arifa:2012:6-7)
The quote shows the firm dichotomy of men and women spaces
so that the opposite sex is described as an alien. Tartila’s parents send her
to pesantren in early age to study since they consider studying in pesantren is
far more important than knowing his own family further. This behavior awakened
from opinion based on the ideology of respecting teacher in the social system
of the Madurese (Pujiati: 2010: 352-353).
Buppa'-Babbu,Guruh–or
father-mother, teacher, and king or government— is a tribute in Madurese social
system. Tila’s father respects his teacher, and Tila has to respect her parent
so she accepts it as a decision that must be implemented. The quote also
indicates an ironic view of the sending children to pesantren in early ages.
The view of the primacy on family mentioned is a modern perspective imported
from the Western view about nuclear
family. In other words, this is a binary opposition between the traditional
and the modern.
Furthermore, Tartila’s desire to have a
date faces obstacle created by
his father. Due to comply with the teacher, Tila’s father did not refuse to accept anybody to be Tila’s fiancé. Tila uprising is not significant
because the hierarchy of power between the child
and the father is
non-negable. Tila’s uncle who graduated
from state universities in Jember, East Java, tries to mediate
the conflict between the child and the father. Unfortunately his efforts fail because Tila falls back
on the child-father relationship and
consequences. Moreover, Tila spaces fate in the larger
space, not as
a child under the authority of the
father but as a human being. When Tila removes
all the social relations in her by becoming ‘human’, there the greatest power over her is God. Tila fights
against her fate that is decided by those who
rules over her socially and complains God even she finds it as
difficult thing to go through with generalizing herself
as a human. Tila writes
her complain in writing as following quotation:
Dengan
kemahakuasaan-Mu,
Pilihkanlah seorang
lelaki untukku
Pasangan jodoh yang
terbaik dan cocok
Menurut Engkau
Akan kuusaha dan
berdamai dan merelakan suatu akhir
Bahkan jika ia
adalah Mahmud
Tila
berhenti menulis. Diremasnya lembar kertas ituperlahan. Air matanya mengalir
deras, tak sanggup Tila membendung. Dua bahu kurusnya menggigil karena isak.
Berat bagi hatinya menuliskan kalimat terakhir. (Arifa:2012:91-92.)
In thy
Almightiness
Find
me a man
The
best soul mate that suitable
In thy
will
I will
try to be at peace and allow an end
Eventhough
if he were Mahmud
Tila
stops writing. She squeezes the paper slowly. Her tears flows
freely, Tila could not
stop them. her thin shoulders are
shivering because of sobs. It is hard for her to
write that last sentence.
The quotation above
shows the power of human desire that Tila calls it as a resignation. She does
not want God to determine her fate, then she fights against God provision.
Tartila’s fight is an indicator of believing in human power, it is human that
determine human’s fate and God is watching over. The belief inhuman power shows
the position of Tartila as the subject of liberal ideology as the product of
modernity. Moreover, Tartila chooses to leave her house in Madura to her
uncle’s house in Jember.
Tartila
was so proud of her well educated father because it distinguishes her family
with other people in her village. However, her engagement with Mahmud ruins her
pride since it shows her father’s conservatism and it brings her to the level
of common young girls in Madura. She is pulled out from the comfort zone in her
social class. The engagement brings her
family to the opposite position in the society.
Traditionality
vs modernity represented in the novel won by modernity at the end of the story.
Les Miserables Film becomes a mean of
reconciliation between the father and Tartila. The film is a novel
transformation written by Victor Hugo; a French writer. Furthermore, the film
choice bring Tartila to the middle to upper class position in her environment
in Madura that is explained as a not-well-educated society so that the well
educated people are in modern plane. The
moving centre of the story from Madura to Jember that represent Java also means
a movement from traditional space to modern space.
Madura
is is pesantren (traditional), the centre of science, the gurus space, while
Jawa that grows rapidly is the centre of (modern) civilization. However, the
chosen Java is Jemberand Jember people is not completely Madurese nor Javanese.
Jember then is a mix of the two big dominant cultures and its inhabitants named
their identity as pandalungan[6].
Jember is a negotiation space, a space outside of the house that has a lot of
possibilities. While Madura that represented by pesantren as the centre of
rules opposing Jember as Java.
Event
when Tartila met Laffan once more takes place at the great mosque in Sumenep,
Madura. Masjid agung Sumenep. Tila thought that Laffan has got married to
Zahrah, his fiancé, therefore when she met him at the great mosque, she chooses
to hide her feeling to Laffan to respect the married man and to respect the
Marriage institution. When Rifmi, Tartilas’s best friend in pesantren asked
wether Tila told Laffan her feeling, Tartila answers her as quoted bellow:
“Buat
apa?Aku memang menyukainya. Menikmati sensasi itu saja sudah cukup. Aku tidak
berharap apa-apa.” …”massalahnya dia sudah menikah. Dan mau tak mau, aku harus
memilih pilihan logis dengan menyadari bahwa apa pun jawaban darinya hanya
membuahkan sensasi. Itu saja. (Arifa: 2012:212)
“What
for? It is I like him. I enjoy the
sensation of loving and it is enough for me. I wish nothing.” … the problem is
that he is married. And inevitably I must choose logical choice with awaking
that whatever his answer it just brings sensation. That’s all.
Rationality
is rule of the game of modernity (Lyotard: 2009:36) and Tartila chooses to be
rational by not thinking of Laffan too far in hope that her life will be
peaceful. As I explained before that Madura is a centre of rules, so that when
Tartila met Laffan at great mosque in Sumenep Madura she chooses to obey the
rules by not telling him her feeling of love. However, at the same time, her
convession to Rifmi about her love to Laffan is a kind of breaking through the
rules she tries to obey. Her acceptance on the fact that Laffan is a married
man but she keeps dreaming of him in the future, in the long run turns her to
be a traditional woman. It becomes a general knowledge in Indonesia that Most
of those who live in traditional pesantren (such as Madura) accept polygamy, it
is modeled by the priest who has more than one wife. Tradisionality that is
criticized in Tartila finally is
inclusioned in the ideology of the author by condonation of Tila’s love to the
married-thought man, Laffan. Her silent
about her feeling places Tila as a woman justified as a passive object because
finally she does not know that Laffan cancelled the marriage.
Kasidah Air Mata: God, Compassion, and Humanity
If Tartila tends to adore modernity
and at the end the ideology of the author fuses in traditionality criticized,
Zainul Walid poems tends to accept the differences between those who are out of
pesantren and those in the pesanren. The relation between God- human-nature are
presented in the poems themes. The following diagram is the binary opposition
in semantic poles:
Madura
|
Jawa
|
Sailing
|
Guruh
|
Buppak-Babbu’
|
Ratoh
|
Jawa’
|
Situbondo
|
Outside Pesantren
|
God
|
Violence
|
Pesantren
|
Muslem
|
Non
Muslem
|
Compassion
|
Humanity
|
In
the poem anthology, God is presented as the centre of the universe. The
universe is divided into two poles, they are left and right. Pesantren is noted
as a close space to God because pesantren is a science space that related to
human to human attitude in life and nature that can be accounted to God. Kasidah Air Mata (1) that is dedicated
to the late leader of Pesantren Sukorejo Situbondo and a teacher in Pakamban
Sumenep, the fourth stanza is as the following:
Kulihat
bunga-bunga di depan rumahku layu
Tak
lincah lagi menangkap debu
Kulihat
pena anak-anak sekolah tergores sia-sia
Kitab-kitab
terbaca tanpa makna
Kulihat
peluh petani yang menyiram bumi
tak
lagi sejuk
dan
nelayan kesasar alamat pulang
kulihat
air susu ibu-ibu tak deras mengalir
dan
bayi-bayi meronta-ronta di gendongan zaman
(Walid:
2012:14)
The poem tells
about mourning on the death of a teacher as a part of pesantren. Outside the
pesantren also feels the mourning that is represented by fishermen, mothers and
babies in the lines quoted. The nature feels the mourning too. God’s will to
take the life of the guru leave a deep grief to those who live outside the
pesantren, in pesantren and also the nature. Romantic spirit is traced in the
poems and it is proved in the relation of nature, desire, and God.
A tale of a Nonmuslimah Girl (Kisah
Bocah Nonmuslimah), told about Serly, a Tionghoa girl
who come from a nonmuslim family and study at a Muslim school. Her mother
forbade her to get out of the class even when religious lesson is discussed.
Pohon-pohon
mangga di luar jendela
Hendak
berbuah delima
Dan
matahari terbelalaktiba-tiba
Terharu…
Ternganga…
Memandang
cinta kasih
Yang
tak biasa
Inikah
romantisme negeri Pancasila?
Yangkian
hari kian asing di anatara kita?
Inikah
aroma Bhineka Tunggal ika?
Inikah
filsafat Trisula?
Inikah
hak asasi dalam udara yang merdeka?
Ataukah
semalam
Sekuntum
bunga mawar
Jatuh
dari tangkai langit ke Sembilan
Tepat
di atas ranjang
Saat
ibu dan bocah itu berpelukan
Allahu
a’lam
(Walid:2012:83-84)
There is a failure
since the very beginning of the title on this poem that dichotomized Muslim and
non-Muslim. Ideology of equality that is
tried to be placed as the soul of this poem loses its power. The dichotomy
turns to be exclusivity on those who are labeled without the word non- and it
brings fascist ideology. However, the last two lines of first stanza on the
quotation above shows an effort to wrap the event as a form of compassion that bridges religious diversity in human
relationship. In other words, contradictory diction used as the title presents
human love simultaneously.
Love
event is also come in a poem entitled Rimba
atau Negara (forest and country) when the narator questioned a country he
lives in. The poem named the government who do not listen on the “ the
disappointment of a tramp and thrashing heart of the whore (keluh kecewa
gelandangan, ronta hati pelacur). A marginalized person in Indonesian
society does not managed by the country but viewed as rubbish like in the poem.
By listening to the sigh of tramp and whore is an efford to re-humanize those
in compassion discourses as a bridge on
the imbalance society.
Geographical
elements in Walid’s poems are spaces of events. Madura is a name of an island as Situbondo is imagined as Java. Cities like
Pamekasan and a space for nature of Madura such as siwalan, clurit, hoe,
karapan cows, present in a juxtaposition form of incomplete Madura but a crumb
embedded in the poems.
Unnual
flood in Situbondo viewed not only as a natural disaster but also humanity
disaster for its delay on the rescue caused the victim increased (as stated in
the poem Apa Kabar Situbondo). There
is regret on the low of social sensitivity in neghbourhood. But
the natural disaster was also attributed to the
will of God that cannot be
denied, but accepted
and prevented with
prayer poem as
follows:
Sumatera: Gempa Lagi
Sumatera
Gempa Lagi, 8,5 SR
Gemetar
nyawaku meniti iradah-Mu
Apakah
yang besar
Yang
hendak mengubah-Mu
Sedang
bumi-langit hanya setitik debu saja
Dan
kami, Sumatera, nusantara
Entah
setitik apa
(Walid:2012:36)
There
is kernel and satellite in placing science in the poem anthology above. Madura
as the centre or kernel of science become centre when the narrator there but it
turns to be satellite or peripheral when the narrator is in Java. Teacher who lives
in Madura is just a story,not the centre
as presented in a poem entitled Kasidah Air Mata (3) as the following:
…
Guru
Sebagai
lebah yang lama di Jawa
Saya
belum sempat hinggap
Di
manis mayang dan berbunga
Yang
tumbuh di batu
Pada
bukit Kadur Pamekasanmu
…
(Walid:2012:19)
Ship,
and sail are words used for many
times in the poems as a media (ship) and freedom (sailing). It shows the
geographical position of Madura and Situbondo that is separated by a strait,
both of the two places can smell the beach. Therefore freedom counts as
released with sailing
Poem
entitle a puisi Darahmu, padi tree
that grows fertile in Java become a symbol of prosperity. “Bersemilah padi-padi
di langit /untukmu” (2012:47) emerged as
a great prayer to those who sleep forever. While for those who is Madura become
life provision in the new world.
Besides, through the
mention of geographical location and
words and terms in Madurese and local attributes, these
poems also provide trace a common thread in
the three elements that are maintained in the social system of the Madurese as well read in Tartila. Red lines of Walid’s works are related to the three
concept of Madura social system like what has happened in the novel: Buppa’-babbu’ –guruh—ratoh.
Overall,
Walid’s poems placed God as the centre of life. Human being is His creature
that becomes actors of the events in life with natural background. Therefore,
God’s power in this text is incomparable and non-negotiable but accepted.
The Society in Horse Shoe Area: Jember and Situbondo
Tartila and Kasidah Air Mata are
works that are born in pesantren environment in
in East Java horseshoe arease has their own way presenting their
locality. Horseshoe that I mean in this article are some districts in East Java
that shape horseshoe in the map, they are Probolinggo, Situbondo, Bondowoso,
Jember, Banyuwangi, dan Lumajang. The cultural characteristics of the fifth
area are their diversity ethnics. In
Probolinggo there is a mix Java- Tengger that known with the traditional
obedience of their people in the teaching of their ancestor guru in mounth
Bromo. In Situbondo and Bondowoso inhabited by Madura and known with their
Islam life. There two big ethnic, they are mix of Madura and Java with keeping
to maintaining each culture they call themselves as pandalungan. In concept of Homi Bhabha, hybrid identity is formed
by cross cultural events that continuous in a community. In the process of
forming the identity, there are mimicry and otherness. The emphasizing concept in hybridity is cultural phenomena to
frame that what Bhabha means by that is not about simple psychological
phenomena. Hybrid culture is not a losing culture but as a survive strategy. Mimicry is a survival strategy of a
culture in a cross cultural phenomena using
a copy technique or mimetic or copying dominant culture without
eliminating original culture. There is a mix that becomes a paradox to the
dominant power. otherness is an
alienation that imagining themselves as
the colonized to be the colonizer (Bhabha:1994:67-8). Unhomeliness is also a part of hybridity explained by Bhabha as a
kind of cultural identity crisis (Bhabha:1994:9) related to extra territorial
and cross cultural initiation.
Arifa
the writer of Tartila comes from
Jember but grew and mature in pesantren in Madura. her hibridity emerges in the
form of negotiations of the modern and traditional, between the well educated
and the conventional. Tila as the main
character voices the author’s ideology in criticizing sending kids to to
pesantren. While Zainul Walid who had
been more mature than Arifa is simpler
in voicing its ideology through the locality in the text. Walid who comes from
Madura and learning in Situbondo (Java’) is different from Arifa who was born
in Jember. Lordship is accepted as a irrefutable dogma without negotiation, it
is a world view that is presented in the text that he wrote. The presence of
world view is also inseparable from the fabric of society in which the writer
lived. Walid from Madura, an element of religiosity is quite strong and tends
to accept religion as dogmatic law. Even epistem 'if not Islam then it is not
Madura’ spread among the Madurese themselves. The statement shows the absolute
acceptance against anything associated with divinity, or in other words, God is
not something that should or could be negotiated.
Conclusion
Tartila raised the issue of humanity
through the love story and how to humanize the
people not only
in the line social
structure, but more
thorough than many
sides. Liberal ideology
of modernism formations also appear in the text
in the negotiations with the locality and
traditionality. While Kasidah Air Mata still
carry the ideology and romantic spirit
with the evidence of the closeness
of God, nature and
man. Love and humanity become the source of poetics aesthetic
development in the poems anthology.
Through this article, I
concluded that linguistic practices through literature of those who live in
pesantren also voiced humanity in ideological border of each zone. Locality in
their texts is the difference that foregrounding
the presented human facts. Overall, in this paper I found Arifa’s thoughts who
was born in a hybrid society tends to be negotiable while Walid who lives in
Java but his original as Madura still legible, in this poems anthology he tends
to think absolute and centralized.
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[1] Pesantren is an Islamic educational
institution with dormitory system with five important points in
categorizing it; 1) a priest as the
central figure in the institution, 2) students called santri who become the subjects of religious activities lead by the
priest in Pesantren envienment, 3) a mosque as a centre of main activities
(teaching and learning), 4) dorms or boarding for the students, 5) the teaching
of Islam under the guidance of the priest using yellow holly book (Mahdi:2013)
[2] Pesantren is an Islamic educational
institution with dormitory system with five important points in
categorizing it; 1) a priest as the
central figure in the institution, 2) students called santri who become the subjects of religious activities lead by the
priest in Pesantren envienment, 3) a mosque as a centre of main activities
(teaching and learning), 4) dorms or boarding for the students, 5) the teaching
of Islam under the guidance of the priest using yellow holly book (Mahdi:2013)
[3] This article is
presented on International Seminar on languages and Arts (ISLA-3) held by Faculty
of Languages and Arts, State University of Padang on October 17-18 2014
[4] auto-affection is the presence of the subject in a discourse that are flung continuously so that the subject
becomes a central subject in the oral communication where the presence of
subject becomes absolute. Subject controls and directs communication as he
pleases. Between speaker and listener there is a reciprocal relationship, which
undoubtedly can be asked directly to the speaker so that there is a certainty,
into a single interpretation (Al-Fayyadl, Muhammad.2005.Derrida.
Yogyakarta: Pt. LKis Yogyakarta. Hal.58-59)
[5] Bat student is
a term refers to a student of a school in pesantren but s/he does not stay the
pesantren.
[6] Pandalungan is
identity of Jember people who grows in the mix of Madura and Java cultures
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