ACEHNESE CULTURE AS REPRESENTED ON THE SIGNS FOUND IN
RUMOH ACEH
A THESIS
BY
ARISKA RATI SAPITRI
120705003
DEPARTEMENT OF ENGLISH
FACULTY OF CULTURAL STUDIES
UNIVERSITY OF SUMATERA UTARA
MEDAN 2016
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UNIVERSITAS SUMATERA UTARA
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UNIVERSITAS SUMATERA UTARA APPROVED BY DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL
STUDIES UNIVERSITY OF SUMATERA UTARA (USU) MEDAN AS A
THESIS FOR THE SARJANA SASTRA EXAMINATION.
Head, Secretary,
Dr. H. Muhizar Muchtar, M.S. Rahmadsyah Rangkuti, M.A., Ph.D
NIP. 19541117198003 1 002 NIP. 19750209 200812 1 002
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UNIVERSITAS SUMATERA UTARA ACCEPTED BY THE BOARD OF EXAMINERS IN PARTIAL FULFILLMENT OF REQUIREMENTS FOR THE DEGREE OF SARJANA SASTRA FROM THE DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA, MEDAN.
THE EXAMINATION IS HELD IN DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA ON DECEMBER 15th, 2016
Dean of Faculty of Cultural Studies
University of Sumatera Utara
Dr. Budi Agustono, M.S
NIP.19600805 1987031 001
Board of Examiners
Dr. H. Muhizar Muchtar, M.S ______
Rahmadsyah Rangkuti, M.A. Ph.D ______
Prof. Dr. Syahron Lubis, M.A ______
Dr. Ridwan Hanafiah, SH, M.A ______
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UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION
I, ARISKA RATI SAPITRI, DECLARE THAT I AM THE SOLE AUTHOR
OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT
OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED
ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A
THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER
DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT
DUE ACKNOWLEDGMENTS IN THE MAIN TEXT OF THIS THESIS. THIS
THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER
DEGREE IN ANY TERTIARY EDUCATION.
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Date : December 15th, 2016
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NAME : ARISKA RATI SAPITRI
TITLE OF THESIS : ACEHNESE CULTURE AS REPRESENTED ON THE SIGNS FOUND IN RUMOH ACEH QUALIFICATION : S-1/SARJANA SASTRA
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OF THE REPUBLIC OF INDONESIA.
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Date : December 15th, 2016
UNIVERSITAS SUMATERA UTARA ACKNOWLEDGMENT
Bismillahirrahmanirrahim,
First of all, I would like to thank Allah SWT for the blessing, mercy and charity in my whole of my life, especially in accomplishing this thesis entitled
“Acehnese Culture as Represented on the Signs Found in Rumoh Aceh”. Shalawat and salam are also presented upon to the Prophet Muhammad SAW.
My very special gratitude is for my beloved parents, my father Asmaruddin, the best man I ever had who always support me morally, spiritually, and financially in completing this thesis and the patience one, my mother Sariati who teaches me how to treat the people surrounding me, and always takes care of me and reminds me to pray to Allah SWT in every single day. Both of you are my inspiration and I am so proud to be your daughter. Moreover, thank you very much to my brothers, Joni Ari
Saputra and Rias Aprianda Putra, and my one and only sister, Anggrela Tri Suci who always support me every time. I always love you and all of you are always in my deepest heart.
I would like to express my sincere gratitude to Prof. Dr. Syahron Lubis, M.A as my supervisor for his kindness, knowledge, patience and motivation for me to write and finish this thesis. Also, I would like to thank to Dr. Ridwan Hanafiah SH, M.A as my co-supervisor for his kindness and knowledge to help me in writing this thesis.
My gratitude also goes to Dr. Budi Agustono, M.S. as the dean of Faculty of
Cultural Studies, University of Sumatera Utara as well as the members of administration for their valuable help throughout the academic years, the Head and the Secretary of English Department, Dr. H. Muhizar Muchtar, M.S. and
Rahmadsyah Rangkuti, M.A., Ph.D. Special thanks to mrs. Maya who always give
UNIVERSITAS SUMATERA UTARA me the suggestion during the process of writing this thesis and all of the lecturers and the staffs of English Department for the facilities and opportunities given to me during my study in this faculty.
My gratitude also goes to the head of Museum Aceh, Nurhasanah, S.Pd and the head of education and collection of Museum Aceh, Hafnidar S.S., M.Hum and the staffs of Museum Aceh for the facilities and opportunities given to me during my research there.
I also want to thank to Eryzal Kurniawan for his kindness and helping me at the beginning until present, Jessica barus, Mhd. Fachry and Suci Widana (keluarga cemara) also Fajar Mahendra, Reza Andika and Dicky Andriansyah who always help and support me anywhere and everywhere. Thanks to my pretty girls Cut Maya
Revina, Ayu Dianti Putri, Khairunnisa Octarie, Widyana Wuladari and Wulandari
Saputri who always help me when I did the research, you all my best friends ever.
Thanks to Uwol, Ipeh and all member of Clover (Cat Lovers) Medan who always support me to finish this thesis.
Last but not least, I would like to thank to my proposal seminar‟s mate
Dzulfiqar and Jolena, my thesis examination‟s mate Kak nana and Bang Sahuri, all of my friends in Elite (English Literature) 2012 A and B, Ridho, Isti, Debora, Suci,
Ira, Ayu, Nurul, Hazme, Ernita, Rapika, Tondi, Windo, Dame, Suhaika, Oline, Cici,
Elsa, and others that I cannot mention one by one who share the priceless experiences to me.
I am really grateful to have everyone supporting me in the process of writing this thesis. Thank you so much for being my power.
UNIVERSITAS SUMATERA UTARA Finally, may this thesis be advantegous for the readers, may the grace and love of the Almighty Allah SWT be with us all forever. Aamiin.
Medan, December 15th, 2016
Ariska Rati Sapitri Reg. No. 120705003
UNIVERSITAS SUMATERA UTARA ABSTRACT
This thesis is entitled “Acehnese Culture as Represented on the Signs Found in Rumoh Aceh.” This thesis contains a study of signs found in Rumoh Aceh in Museum Aceh, Aceh Besar. The purposes of this study are to find out the signs and to explain how is acehnese culture as represented on the signs found in Rumoh Aceh. Aceh is not the new culture to hear but until this time many of people don‟t know about it. In this thesis the writer explains the signs found in Rumoh Aceh using Ferdinand de Saussure theory namely the signifier and signified. In completing the analysis, the writer uses qualitative descriptive method which is done by applying the field research to get data or information related to the topic to support the analysis. Based on the analysis it is be found eleven signs in Rumoh Aceh are: (1) House position, (2) Shape of house, (3) Room separation, (4) Tungai/seuramoe tengoh, (5) Tameeh raja and Tameeh putroe, (6) Nailless house, (7) Renyeun, (8) Tingkap, (9) Aweu, (10) Religion ornament, (11) Flora ornament as totally the meaning of every sign is the realization of acehnese culture which is close to Islamic and acehnese culture to make the house with the concept to outsmart the natural condition and the effort to love the nature. The purposes of this study are to enrich the knowlwdge of the readers about semiotics and cultural signs on Rumoh Aceh also to apreciate Rumoh Aceh and acehnese culture itself.
Keywords: Signs, Semiotics, Rumoh Aceh, Acehnese Culture, Qualitative Descriptive Method
UNIVERSITAS SUMATERA UTARA ABSTRAK
Skripsi ini berjudul “Acehnese Culture as Represented on the Signs Found in Rumoh Aceh”. Skripsi ini berisi tentang analisis tanda-tanda yang digunakan pada Rumoh Aceh yang terdapat di Museum Aceh, Aceh Besar. Tujuan dari penelitian ini adalah untuk menemukan tanda dan menjelaskan bagaimana kebudayaan aceh yang tercermin pada tanda-tanda yang terdapat di Rumoh Aceh. Aceh bukanlah sebuah budaya yang baru didengar, namun sampai saat ini masih banyak orang-orang yang tidak mengerti tentang itu. Dalam skripsi ini penulis mencoba untuk menjelaskan tanda yang ditemukan dalam Rumoh Aceh menggunakan teori Ferdinand de Saussure yaitu penanda dan petanda. Dalam menyelesaikan analis ini, penulis menggunakan metode kualitatif deskriptif yang dilakukan melalui penelitian lapangan untuk mendukung analis tersebut. Berdasarkan analis tersebut dapat ditemukan sebelas tanda yang di gunakan pada Rumoh Aceh yaitu: (1) Posisi rumah, (2) Bentuk rumah, (3) Pemisahan ruangan, (4) Tungai/seuramoe tengoh, (5) Tameeh raja and Tameeh putroe, (6) Rumah tanpa paku, (7) Renyeun, (8) Tingkap, (9) Aweu, (10) Ornament religi, (11) Ornament flora yang secara keseluruhan makna dari setiap tanda tersebut merupakan realisasi kebudayaan aceh yang begitu kental dengan agama islam dan budaya orang aceh membuat rumah dengan menyikapi kondisi alam dan upaya untuk mencintai alam. Penelitian ini ditujukan untuk memperkaya pengetahuan pembaca mengenai semiotika dan tanda budaya yang terdapat pada Rumoh Aceh serta untuk mengapresiasi Rumoh Aceh dan budaya Aceh itu sendiri.
Kata kunci: Tanda, Semiotik, Rumoh Aceh, Budaya Aceh, Metode Kualitatif Deskriptif.
UNIVERSITAS SUMATERA UTARA TABLE OF CONTENTS
AUTRHOR’S DECLARATION ...... v
COPYRIGHT DECLARATION ...... vi
ACKNOWLEDGMENTS ...... vii
ABSRACT ...... x
ABSTRAK ...... xi
TABLE OF CONTENTS ...... xii
LIST OF TERM ...... xv
LIST OF PICTURE ...... xvi
LIST OF TABLE ...... xvi
CHAPTER I INTRODUCTION 1.1 Background of the Study ...... 1
1.2 Problems of the Study ...... 4
1.3 Objective of the Study ...... 5
1.4 Scope of the Study ...... 5
1.5 Significance of the Study ...... 5
CHAPTER II REVIEW OF RELATED LITERATURES 6 2.1 Overview of Semiotics ...... 6
2.2 The Semiotic Theory by Charles Sander Pierce ...... 7
2.2.1 The Theory of Sign by Charles Sander Pierce ...... 9
2.2.1.1 Icon ...... 9
2.2.1.2 Index ...... 10
UNIVERSITAS SUMATERA UTARA 2.2.1.3 Symbol ...... 10
2.2 The Semiotics Theory by Ferdinand de Saussure ...... 11
2.3 Definition of Culture ...... 13
2.5 Rumoh Aceh ...... 14
CHAPTER III METHOD OF RESEARCH 16 3.1 Research Method ...... 16
3.2 Research Location and Time ...... 17
3.3 Data and Data Source ...... 17
3.4 Data Collecting Method ...... 17
3.5 Data Analysis ...... 18
CHAPTER IV ANALYSIS AND FINDINGS 21 4.1 Analysis ...... 21
4.1.1 House Position ...... 22
4.1.2 Shape of House ...... 23
4.1.3 Room Separation...... 24
4.1.4 Tungai/ Seuramoe Tengoh ...... 25
4.1.5 Tameeh Raja and Tameeh Putroe ...... 26
4.1.6 Nailless House ...... 27
4.1.7 Renyeun ...... 28
4.1.8 Tingkap ...... 29
4.1.9 Aweu ...... 30
4.1.10 Religion Ornament ...... 34
UNIVERSITAS SUMATERA UTARA 4.1.11 Flora ornament ...... 35
4.2 Findings ...... 35
CHAPTER V CONCLUSIONS AND SUGGESTIONS 43 5.1 Conclusions ...... 43
5.2 Suggestions ...... 45
REFERENCES ...... 46
APPENDICES
APPENDIX 1: INTERVIEW
APPENDIX 2: BIOGRAPHY OF INFORMANT
APPENDIX 3: DOCUMENTATION
UNIVERSITAS SUMATERA UTARA LIST OF TERM
1. Rumoh Aceh : Acehnese traditional house 2. Seuramoe Keu : Front room of Rumoh Aceh 3. Tungai/Seuramoe Tengoh : The center room of Rumoh Aceh 4. Seuramoe Likot : Back room of Rumoh Aceh 5. Tameeh : Pole 6. Tameeh Putroe : Putroe (name of the pole) means queen 7. Tameeh Raja : Raja (name of the pole) means king 8. Renyeun : Stair 9. Tingkap : Window 10. Aweu : Rattan 11. Baji : Wedge 12. Pasak : Peg 13. Binteih : Wall 14. Pinto : Door 15. Pesijuek : Ritual culture of Acehnese 16. Tulak angen : The part among two split the roof of Rumoh Aceh,triangular. 17. Peulangan : The parts are found in the lower walls between elevation Seuramoe and bedroom. 18. Kindang : The lower wall of Rumoh Aceh 19. Bara : Lisplank part of the roof , which is outside of Rumoh Aceh. 20. Sunatullah : (islam) the provisions of ALLAH 21. Hablumminallah : (islam) the relationship that arrange between Human and ALLAH. 22. Kitabullah : (islam) holy book of ALLAH 23. Ka‟bah : (islam) the small cubicle shrine in the Great the famous black Stone of Mecca. It represents the direction (kiblah) to which Muslims turn praying.
UNIVERSITAS SUMATERA UTARA LIST OF PICTURE
4.1.1 House Position ...... 22
4.1.2 Shape of House ...... 23
4.1.3 Separated Rooms ...... 24
4.1.4 Tungai/ Seuramoe Tengoh ...... 25
4.1.5 Tameeh Raja and Tameeh Putroe ...... 26
4.1.6 Nailless House ...... 27
4.1.7 Renyeun ...... 28
4.1.8 Tingkap ...... 29
4.1.9 Aweu ...... 30
4.1.10 Religion Ornament found in binteih (wall) ...... 33
4.1.11 Flora ornament found in binteih (wall) ...... 34
UNIVERSITAS SUMATERA UTARA LIST OF TABLE
Table 1 : Signs based on specific feature and ornaments ...... 35
UNIVERSITAS SUMATERA UTARA CHAPTER I
INTRODUCTION
1.1 Background of the Study
Language is means of communication used by all human beings in the world to tell someone about something. Sapir (1921:7) says, “Language is a purely human and non-instinctive method of communicating ideas, emotions and desires by means of voluntarily produced symbols.” Based on that statement, it may be assumed that language is used to express our feelings, ideas, emotions, and desires. Language is not only expressed orally but also in written form. So, we can conclude that written language is one of the methods of communicating ideas, emotion and desire by using letters, pictures, symbols, and codes.
Language is a tool of transferring signs. The signs can be differently accepted by the people in line with the concept of thinking, culture, religion, etc. In linguistic studies, the signs are also discussed in semiotics, a branch of linguistics which is focussed on the study of signs.
Semiotics, also called semiotic or semiology, is the study of sign processes, or signification and communication, signs and symbols, both individually and grouped into sign systems. It includes the study of how meaning is constructed and understood. Semiotics is part of linguistic study that is focused on the function of language as a sign language.
Semiotics is important because it can help us not to take 'reality' for granted as something having a purely objective existence which is independent of human interpretation. It teaches us that reality is a system of signs. Studying semiotics can assist us to become more aware of reality as a construction and of the roles played by
UNIVERSITAS SUMATERA UTARA ourselves and others in constructing it. It can help us to realize that information or meaning is not 'contained' in the world or in books, computers or audio-visual media.
Meaning is not 'transmitted' to us. We actively create it according to a complex interplay of codes or conventions of which we are normally unaware. Becoming aware of such codes is both inherently fascinating and intellectually empowering.
We learn from semiotics that we live in a world of signs and we have no way of understanding anything except through signs and the codes into which they are organized. Through the study of semiotics we become aware that these signs and codes are normally transparent and disguise our task in 'reading' them. Living in a world of increasingly visual signs, we need to learn that even the most 'realistic' signs are not what they appear to be. By making more explicit the codes by which signs are interpreted we may perform the valuable semiotic function of 'denaturalizing' signs.
Sign is picture, form, or object which represents an idea. Sign also can be used for any kind of thing, for example in knowledge, social life or religion. The form of sign is not only abstract but also movement and verbal. Sign also can be found in any culture. There are many cultures that exist in a country. Each country has its own uniqueness, one of them is Indonesia. Indonesia is a country which has various cultures because it has many ethnic groups.
One of the Indonesian culture that is quite well- known is Acehnese culture.
Aceh is a region which is located at the western part of Sumatra island, its called
Aceh province. There are many various forms of Acehnese culture that is known including dances and songs like Sedati dance, Saman dance, Bungong Jeumpa song and many others. In addition to the dances and songs, there are also another form of culture that is traditional house.
UNIVERSITAS SUMATERA UTARA Traditional house is not just an ordinary house but there many kinds of sign on it as cultural representation of an ethnic group. Traditional house is a building that has special characteristics which is used for shelter by a certain indigenous tribe.
Traditional house is one of the highest cultural‟ representation within a tribe community or society. The existence of traditional house in Indonesia is very diverse and very important in the perspective of history, heritage, and community advancement in a civilization. Every ethnic group in Indonesia has a traditional house with its uniqueness. The architecture of traditional house in Indonesia of each region is built according to local indigenous culture. Traditional house is generally decorated with beautiful carvings. In earlier times, the most beautiful traditional house owned by the royal family or the chairman of the local indigenous tribe which was built by using selected wood and its constraction was done traditionally involving with experts. Many traditional houses that erect strong, deliberately maintained and preserved as a cultural symbol of Indonesia. One of the traditional houses in Indonesia is Rumoh Aceh from the Aceh tribe.
Rumoh Aceh is a traditional house located in Aceh Province. Rumoh Aceh has a quirk like other traditional houses in Indonesia. A house with classic architecture and is made of wood and adorned with carvings that not to be enthused again by
Acehnese who had been touched by the flow of modernity. Individual‟s belief or communities and the natural conditions in which individuals or communities lived
UNIVERSITAS SUMATERA UTARA have a significant influence on the architecture of buildings that was created. Rumoh
Aceh is not just a place to live but also the expression of belief in God and the adaptation to environment. Therefore, we can see the culture, lifestyle, and values that are believed by the Acehnese through Rumoh Aceh. Rumoh Aceh is one of
Indonesia's cultural precisely Acehnese culture that almost extinct now. Rumoh Aceh is rarely used, because most of Acehnese people today choose to live in a modern house. This is due to the price development of modern house is much cheaper than the Rumoh Aceh. Rumoh Aceh is the embodiment of the values of life and run by
Acehnese people. Therefore, preserving Rumoh Aceh also means preserving the existence of the people of Aceh itself.
Based on the explanation above, the writer chose the title Acehnese culture as represented on the signs found in Rumoh Aceh because Rumoh Aceh contains so many signs of culture which are worth-studying. Rumoh Aceh is also categorized as something that is rare in the culture itself. Therefore, the writer wants to tell the readers about Rumoh Aceh along with signs of a culture contained there as an effort of preserving the Rumoh Aceh.
1.2 Problem of the Study
Based on the title of the study “Acehnese Culture as Represented on the Signs
Found in Rumoh Aceh”, the writer tries to clarify the problems into some questions, they are:
1. What are the signs used in Rumoh Aceh?
2. How Acehnese culture as represented on the signs found in Rumoh Aceh?
UNIVERSITAS SUMATERA UTARA 1.3 Objective of the Study
Dealing with the problems stated above, the writer would like to achieve the following objectives:
1. To find out the signs used in Rumoh Aceh.
2. To explain Acehnese culture as represented on the signs found in the Rumoh
Aceh.
1.4 Scope of the Study
It is very important to limit the scope of this study to make the study become more objective. In this study, the writer only focused on signs used in Rumoh Aceh and used semiotics theory by Charles Sander Pierce to classify the sign and semiotics theory by Ferdinand de Saussure to analyze the signs. The writer limit the signs only symbol that is special characteristics and ornaments of Rumoh Aceh are : house position, shape of house, room separation, tungai/seuramoe tengoh, tameeh raja and tameeh putroe, nailless house, renyeun, tingkap, aweu, religion ornament and flora ornament. Rumoh Aceh analyzed in the study is located in Museum Aceh, Aceh
Besar.
1.5 Significance of the Study
1. To show how is Acehnese culture as represented on the sign found in Rumoh
Aceh.
2. To motivated people appreciate Rumoh Aceh as part of Acehnese or national
culture.
3. To enrich the knowledge of the reader about semiotics.
4. To be used as reference for the readers.
UNIVERSITAS SUMATERA UTARA CHAPTER II
REVIEW OF RELATED LITERATURE
2.1 Overview of Semiotics
Semiotics can be found anywhere. The shortest definition is that it is the study of signs. According to Sebeok (2001: 38) semiotics is also focally concerned with the study of signification. Semiotics is therefore classifiable as that pivotal branch of an integrated science of communication to which its character as a methodical inquiry into the nature and constitution of codes provides an indispensable counterpoint.
Saussure in Sebeok (2001: 17-18) says that definition of the sign lied down the course that semiotic inquiry was to take during the first half of the twentieth century.
He defined it as a form made up of something physical - sounds, letters, gestures, etc. which he termed the signifier; and of the image or concept to which the signifier refers - which he called the signified. He then called the relation that holds between the two significations. Saussure said that the connection between the signifier and the signified was an arbitrary one that human beings and/ or societies had established at will. With these concepts, general semiotics allows us to describe any system of signs: texts, images, performances, multimedia productions, traffic signals, fashion, daily life, etc. There are specific semiotic systems (for text, images, multimedia, and so on) that take into account the specifics of each system of signs.
In the short history it grew out of two entirely separate traditions, Semiology
(semiologie in the original French), proposed by Ferdinand de Saussure, a linguist in
Switzerland, as an extension of psychology; and semiotic, proposed by Charles
Sanders Peirce, a philosopher in the United States, as an extension of the study of logic. The term semiology was still used, though more often in Europe than in the
UNIVERSITAS SUMATERA UTARA United States; the term semiotic (singular form) was rarely used; the term of choice in the United States today is most often semiotics (plural form) in an attempt to consolidate areas of research.
According to Sebeok (2001: 20) the primary objective of semiotics is to understand both a species capacity to make and understand signs and, in the case of the human species, the knowledge-making activity this capacity allows human beings to carry out. In its terms, everything in a culture/life can be seen as a form of communication, organized in similar ways to verbal language, to be understood in terms of a common set of fundamental rules or principles. However, the importance of signs and signification has been recognized throughout much of the history of philosophy and in psychology as well.
There are, in fact, several semiotic theories. Some prominent people are associated with semiotics, including de Saussure, Peirce, Morris, Hjelmslev,
Jakobson, Barthes, Greimas, and Eco. In this study, the writer uses the semiotics theory by Charles Sander Peirce to classify the sign and the semiotics theory by
Ferdinand de Saussure to analyze the signs.
2.2 The Semiotics Theory by Charles Sander Peirce
Pierce (1940: 99) says that there are three sides of semiotics. The sides are sign or representamen, object, and interpretant. In that book, Peirce says that a sign or representament is something which stands to somebody for something in some respect or capacity, Peirce gives a definition of sign or representamen as the sign itself, the object is the thing which is referred, and the sign which it creates called interpretant. Peirce has created a diagram of sign or representamen, object and interpretant called semiotic triangle. The diagram below means that those sides are
UNIVERSITAS SUMATERA UTARA something which should always together. They are inseparable in semiosis because they have their own functions to determining each other so that semiosis process can describe or determine the sign clearly. Here is the Peirce‟s diagram which shows the relation of sign or representamen, object and interpretant.
SIGN / REPRESENTAMEN
INTERPRETANT OBJECT
Peirce’s Semiotic Triangle (Chandler, 2002: 30)
a. The representamen: the form which the sign takes (not necessarily material);
b. An interpretant: not an interpreter but rather than the sense made of the sign;
c. An object: to which the sign refers.
The relationship of three elements found by Pierce known as the semiotic triangle is as follows, the sign is something that can represent something else within certain limits. Sign will always refer to something else, by Pierce called objects.
Referring means representing or replacing, a sign will be function when interpreted in the mind of the interpretant through the sign so interpretant is the understanding of the meaning that appears in the recipient sign, it means that a sign can be function as a sign if it can be captured and understanding occur due to ground knowledge about the system of signs in a society. That is the relationship between the sides of the semiotic triangle.
UNIVERSITAS SUMATERA UTARA The interaction between the reprasentamen, the object and interpretant is referred to as „semiosis‟ by Pierce. Example of Pierce‟s model of the sign, traffic light sign for „stop‟ will consist of: a red light facing traffic at an intersection (the representamen); vehicles halting (the obeject); and the idea that a red light indicates that vehicles must stop (the interpretant).
2.2.1 The Theory of Sign by Charles Sander Pierce
Sign or Representamen is the form which the sign takes (not necessarily material). In semiotics study, sign is the main thing to be analyzed in which in sign consist of the purpose meaning of interpretation. Simply, sign is always organized as visual or physic which can be understood by human. According to Pierce (CP 2.242) signis a representamen of which some interpretant is cognition of a mind. Signs are the only representamens that have been much studied. A sign or representamen is something which stands to somebody for something is some respect or capacity. It addresses somebody that is created in the mind of that person an equivalent sign, or perhaps a more developed sign. Peirce divided sign into three types including icon, index and symbol.
2.2.1.1 Icon
Icon is the easiest to be understood because its similarity with its represented things. Icon is often called the picture of the represented thing for example ground plan, building blueprints, artificial thing. According to Pierce (1940: 102),
“An icon is a sign which refers to the object that denotes merely by virtue of characters of its own, and which it possesses, just the same, wether any such object actually exist or not. It is true that unless there really is such an object, the icon does not act as a sign; but this has nothing to do with its character as a sign.”
UNIVERSITAS SUMATERA UTARA From the explanation above, we know that icon is a sign that the relation of signify and signifier are the same natural form. In other words, the icon is the relationship between signs and objects or references that are similar. For example, a photo is an icon of what it represents. Another example is sound. There are many sounds by which one tries to imitate the sounds of nature are highly iconic, because the simple qualities of the meaning are contained in the form.
2.2.1.2 Index
A sign is indicating the natural relationship between the sign and signified that is causal or causal relationship, or a sign that directly refers to the fact. According to
Pierce (1940: 102), “An index is a sign which refers to the object that it denotes by virtue of being really affected by that object.” From the explanation above, we know that an index expressed mainly material relation (factual, existential contiguity) between meaning and form. It is based on psychological association and/or physical juxtaposition of different events and things. For example, the cause and effect relation in indexical; smoke is a sign of the existence of fire. We can know it because we already had a ground knowledge which told us that if there is smoke than there is fire.
2.2.1.3 Symbol
Symbol is sign that indicates the natural relationship between the signifier and signify. Relationships among them are arbitrary; a relationship based on conventions of society. A symbol is based on a learned conventional relation, ascribed contiguity, or colligation, between form and meaning. Pierce (1940: 102) says that a symbol is a sign which refers to the object that it denotes by virtue of a law, usually an association of general ideas, which operates to cause the symbol to be interpreted as referring to that object.
UNIVERSITAS SUMATERA UTARA From the explanation above, it can be seen that the symbol is used to create an association to an object that does not have to deal directly both physically and because of its presence in a given time. All symbols are “arbitrary” in this way and hence the term is superfluous in this context. Actually the term arbitrary is slightly misleading. For example, the Monas monument, there is no similar or logical relation with the city, but the monument is used as a symbol of the city. Other examples such as nodding in approval or agreed, shake of the head means no. It shows that there is no relationship whatsoever with the intended meaning. Everything is consensual.
2.2 The Semiotics Theory by Ferdinand de Saussure
The linguist, Ferdinand de Saussure, who in all accounts of semiotics is named as a founding father of the disciple says, “Signs is something, which represents something in the relation between signifier and signified and then linguistic sign can be characterized in three terms of the relationship”. There are:
a. sign itself
b. the material aspect of the sign which means may be sound, words,
design/form, picture, or color, it is called signified and
c. Thought (concept) means that it can give the meaning or represent the idea
(signifier). Therefore, something is classified as a sign if it is has meaning
and represents something.
Example: the sign “smoke is fire”, in the structural relationship between the material of „smoke‟ (signified) and the thought made by the word „fire‟ (signifier) is inference about smoke.
Saussure offered a „dyadic‟ or two-part model of the sign too. He defined a sign as being composed of: a signifier (significant) which sign taken and the signifie
UNIVERSITAS SUMATERA UTARA (signified) the concept it represents. The sign is the whole that results from association of the signifier with the signified.
Example: the word „Open‟ (when it is invested with the meaning by someone who encounters it on shop doorway) is a sign consisting of: a signifier: the word open: a signified concept: that the shop is open for business. A sign is recognizable combination of a signifier with a particular signified, the same signifier (the word open) could stand for a different signified (and thus be a different sign), such as if it were on push bottom inside a lift („push to open door‟).
As the full scheme of the study of material sign based on Saussure is:
SEMIOTICS SYSTEM
Language (langage) Language (langue)
Paragdigmatic Syntagmatic
Signs
Signifier Signified
Diagram 2.2 Saussurean Model (Social Semiotics Book, 1988:17)
Note: langage is designated as verbal language while langue is the abstract system of rules underlying speech.
UNIVERSITAS SUMATERA UTARA Now days, the basic „Saussurean‟ model is commonly adopted: it tends to be a more materialistic model than that of Saussure himself. The signifier is now commonly material (or physical) form of the sign- it is something which can be seen, heard, touch, smelt or tasted. Although signifier is treated, Saussure stressed the arbitrariness of the sign – more specifically the arbitrariness of the link between the signifier and the signified. Saussure was focusing on linguistic signs, seeing language as the most important sign system; for him arbitrary nature of the sign was the principle of language. The feature of arbitrariness may indeed help to account for the extraordinary versatility of language, in the context of nature language, Saussure stressed that there is no inherent, essential, „transparent,‟ self-evident or „natural‟ connection between one signifier and another, example: „tree‟ and „free‟. Reality is divided it up into arbitrary categories by languages and the conceptual word with each of them is familiar.
2.3 Definition of Culture
Culture has been defined in many ways. Culture is the characteristics and knowledge of a particular group of people, defined by everything from language, religion, cuisine, social habits, music and arts. According to Hofstede (2011: 3) culture is the collective programming of the mind that distinguishes the members of one group or category of people from others.
It is always a collective phenomenon, but it can be connected to different collectives. Within each collective there is a variety of individuals. If characteristics of individuals are imagined as varying according to some bell curve; the variation between cultures is the shift of the bell curve when one moves from one society to the other. Most commonly the term culture is used for tribes or ethnic groups (in
UNIVERSITAS SUMATERA UTARA anthropology), for nations (in political science, sociology and management), and for organizations (in sociology and management). A relatively unexplored field is the culture of occupations (for instance, of engineers versus accountants, or of academics from different disciplines). The term can also be applied to the genders, to generations, or to social classes. However, changing the level of aggregation studied changes the nature of the concept of „culture‟.
Culture is a powerful human tool for survival, but it is a fragile phenomenon. It is constantly changing and easily lost because it exists only in our minds. Our written languages, governments, buildings, and other man-made things are merely the products of culture. They are not culture in themselves. For this reason, archaeologists cannot dig up culture directly in their excavations. The broken pots and other artifacts of ancient people that they discover are only material remains that reflect cultural patterns-they are things that were made and used through cultural knowledge and skills.
Marana (2010: 23) says that culture is inherent to human beings who need a cultural context in which to develop their personality. As such, we must not limit the work on culture and development to the economic dimension of culture, but rather we must make a special effort to make the identity dimension of culture more visible, paying attention to the social and community effects of the cultural expressions, intangible heritage, language, etc.
2.5 Rumoh Aceh
According to BPCB Banda Aceh (2014) Rumoh Aceh is a form of residence
Acehnese in the past and now almost disappeared, remaining only in a few places in
Aceh. This house has been immortalized in Banda Aceh (Aceh Museum office) and
UNIVERSITAS SUMATERA UTARA at Taman Mini Indonesia Indah (TMII). Inside the house that is located in the Aceh
Museum, there are many relics of the past that are often used by people of Aceh as noticeable Berandang or barn.
The individual belief or community living has significant influence to shape the architecture of the house. This can be seen in the architecture Rumoh Aceh. In general Rumoh Aceh is home stage with a pole between 2.50 to 3 meters, consisting of three or five spaces, with one main room is called propagation. Rumoh with three rooms has 16 poles, while Rumoh with five rooms has 24 poles. Modification of three to five rooms or vice versa can be done easily, simply add or remove parts that are to the left or right of the house. These parts are called seramoe likot (back porch) and seramoe reunyeun (porch stairs) in which the entrance to the house is always in the east. The main door of Rumoh Aceh is always lower than the height of an adult.
Usually the height is only measuring 120-150 cm so that every person who enters the house should be lowered. However, once inside, we will feel very airy room in the house because there was no furniture in the form of a chair or table. Everyone sits cross-legged on a Tikar Ngom (a type of material that grows in the marsh reeds) is coated mats.
Rumoh Aceh is not only shelter, but an expression of belief in God and the adaptation to environment. Therefore, through Rumoh Aceh we can see the culture, lifestyle, and values that are believed by the people of Aceh with outdoor display deep black with brightly colored ornaments typical of Aceh, the building holds several collections of ceramics and paintings hero Aceh. When entering the atmosphere will feel strong tradition. How spatial traditional Acehnese house is very pronounced. Starting from the arrangement meeting rooms, bedrooms, kitchens and furniture storage daily. Of course this will be difficult to find nowadays.
UNIVERSITAS SUMATERA UTARA CHAPTER III
RESEARCH METHOD
3.1 Research Method
Etymologically, research is derived from „re‟ and „search‟; re‟ means „repeat‟ and „search‟ means „to research‟, to find out, to study, to study repeatedly in order to find out or formulate law or theories to prove the theories. Dane (1990:4) says
„research‟ is used to sort out the various theories and explanations that already have, as well as to point the way to more useful theories and explanations.
The writer used qualitative descriptive method in the writing process of this study. The qualitative descriptive study is the method of choice when straight descriptions of phenomena are desired. Such study is especially useful for researchers wanting to know the who, what, and where of events (Sandelowski,
2005: 339). The qualitative descriptive method tries to interpret and relate the significant data to the situation, attitude as well as the point of view in a society, conflict between two conditions or more, and many others.
To find out the data as reference of making this study, the writer used field research.The writer collected the data from the informant by interviewing, and taking the photos of documentation of the object (by camera) of the research and also by collecting data from some books and internet which were be related to the subject matter being analyzed.
The writer collected the signs by doing field research located in Rumoh Aceh.
The writer found out the signs at the Rumoh Aceh by using a camera to get the accurate data. The meanings of the signs could be described by interviewing Mrs.
Hafnidar who acts as the head of education and collection of Museum Aceh.
UNIVERSITAS SUMATERA UTARA 3.2 Location and Time
The location of this study was Rumoh Aceh located in Museum Aceh,
Jl.S.A.Mahmudsyah no.12 Banda Aceh. The study was made on Saturday,
September 17th, 2016.
3.3 Data and Data Source
Data are material which is used in researches. Data is information to be analyzed. The data for the study are all the signs that show how is Acehnese Culture as represented by the signs found in on Rumoh Aceh. The writer collected the data by visiting Rumoh Aceh and pothographed the signs are : house position, shape of house, room separation, tungai/seuramoe tengoh, tameeh raja and tameeh putroe, nailless house, renyeun, tingkap, aweu, religion ornament and flora ornament. The source of the data refers to the subject from which the data are obtained. The data source is Rumoh Aceh.
3.4 Data Collecting Method
The data were of are two kinds, primary and secondary data. Primary data are those which are collected afresh and for the first time, and thus happen to be original in character (Kothari, 2004: 95). In order to get the primary data, the writer visited
Rumoh Aceh and met the informant to collect the information related to the signs on
Rumoh Aceh.
While secondary data are those which have already been collected by someone else and which have already been passed through the statistical process (Kothari,
2004: 95). The data collected were related to understanding the problems and
UNIVERSITAS SUMATERA UTARA objectives of the study. Some other data were information which was collected from books and internet to support the analysis.
In collecting the data and information, data collection methods were used as follows:
1. The first step is observation. Observation means collecting the data
directly from the field (Arikunto, 2002:30). By visiting Rumoh Aceh to
look for the data.
2. The second step is interview. Interview means the conversation was
conducted by the two parties, namely the interviewer who asked questions
and interviewees that provide answers to questions (Arikunto, 2002:30).
By asking information from an informant to get the meaning of the signs.
3. The last step is documentation. In collecting this research data, the writer
took the photos of signs needed by a camera to show the signs found in
Rumoh Aceh. All the data were documented and they are also attached in
the appendix.
3.5 Data Analysis
Miles & Huberman (1994:10) state that they define analysis as consisting of three concurrent flows of activity: data reduction, data display, and conclusion drawing/ verification.
The first step is reducing the data which will be analyzed. According to Miles
& Huberman, data reduction refers to the process of selecting, focusing, simplifying, abstracting, and transforming the data that appear in written-up field notes or transcriptions. The writer should select which data are necessary to be analyzed and which ones are not. There are eleven signs as data which have been analyzed.
UNIVERSITAS SUMATERA UTARA The second step is displaying the data. After reducing the data which would be analyzed, the analysis has to display the data in specific form whether it is tables, matrices, graphs, charts or networks. All are designed to assemble, compact form so that the analysis can see what is happening and either draw justified conclusions or move on to the next step of analysis the display suggests may be useful (1994:11).
The last step is drawing a conclusion. According to Miles & Huberman
(1994:11), conclusions are also verified as the analysis proceeds. The meanings emerging from the data have to be tested for their plausibility, their sturdiness, their
“confirmability” that is, their validity.
The three steps can be represented in the following figure ;
Figure 1: Components of Data Analysis: Interactive Model
From: Miles and Huberman (1994:12)
In the figure above, the three steps of analysis activity and the activity of data collection itself form an interactive, cyclical process. The coding of data, for example
(data reduction), leads to new ideas on what should go into matrix (data display), entering the data requires further data reduction. As the matrix fills up, preliminary conclusions are drawn, but they lead to the decision, for example, to add another
UNIVERSITAS SUMATERA UTARA column to the matrix to test the conclusion. In this view, qualitative data analysis is a continuous, iterative enterprise. Issues of data reduction, of display, and of conclusion drawing/verification come into figure successively as analysis episodes follow each other (1994:12).
UNIVERSITAS SUMATERA UTARA CHAPTER IV
ANALYSIS AND FINDINGS
4.1 Analysis
Culture is a developing intensively in a society from one generation to generation. Each country has its own culture and it is unique. Especially Indonesia,
Indonesia has so many ethnic cultures which are adopted by many societies in
Indonesia.
In this modern era, there are so many people who have forgotten on even do not know about their cultures at all. It may threten the existence of many cultures.
However, by knowing the cultures, we also know our identity because culture is represent the identity of one society.
Culture is formed by many elements including religious system, social system, knowledge system, art, technology and equipment system, livelihood system and language system. All of the elements can be found from many forms of cultures, including Rumoh Aceh that we can find in Acehnese culture.
By having an interview with Mrs. Hafnidar who acts as the chief of education and collection of Rumoh Aceh, she told in brief about Rumoh Aceh and the history of it. She said that Rumoh Aceh was based on the perspective of Acehnese people as the beginning of life and as a place of the growth of culture activities. In 1913, a dutchman who was born in Aceh built a house which was almost the same as the house of Acehnese people. Then, the house was brought to Semarang to be registered in an exhibition of the 100th year of Holland‟s Independence Day and they made a world class Expo in Semarang. So, the dutchman in Aceh at that time built a pavilion to exhibit their collection of Acehnese heritage, such as clothes, lamps, guns, etc. So,
UNIVERSITAS SUMATERA UTARA thet was an overhaul house and brought to Semarang with the collections and the artists of it. After that, the dutchman told the governer of Aceh that the house was quick to be brought back to Aceh and made as a museum for Acehnese people.
In 1914, the house was brought back to Aceh and in 1915 it was declared as a museum. Mrs. Hafnidar added that eventhough Rumoh Aceh was built by a dutchman, the Rumoh Aceh can be used as an instrument to see the culture of Aceh because it has become a museum that show how Acehnese culture can be seen in
Rumoh Aceh. In this study the signs which are used in Rumoh Aceh can explain how
Acehnese culture as represented by the signs. In analyzing the signs, the semiotic theory by Ferdinand de Saussure was used.
The writer devines signs of Rumoh Aceh into two case. Those are Specific
Feature of Rumoh Aceh and Ornament belongs to Rumoh Aceh.
A. Specific Feature of Rumoh Aceh
4.1.1.House Position
Picture 4.1 House Position (Source : writer’s documentation, 2016)
Some requirements have to be fulfilled in building Rumoh Aceh. The position of house must stretch out from East to West for direction to Mecca. This position will help people who visit the house to devine surely where are the direction to
Mecca without asking for more (Mirsa, R. 2013 : 18). This comprehension is
UNIVERSITAS SUMATERA UTARA appropriate to the statement of Mrs. Hafnidar (interviewer) regarding to an implementation of religious values by Aceh people into their house.
However, Rumoh Aceh was already built in such position before Islam spread to land of Aceh. This comprehension seems to be an adjustment of Aceh people in accordance with wind direction. Meanwhile, when the Rumoh Aceh was built facing the windward straightly, the house was going to be collapsed easily. Moreover, direction of house towards North and South drives sunlight shines into the room easily , whether gets through in the East or West side (Mirsa, R. 2013 : 19).
Regarding explanation about of Rumoh Aceh which stretches out from East to
West and also towards North and South are all about the manifestation form of local wise to treat the nature kindly and runs religious values by people of Aceh.
4.1.2 Shape of House
Picture 4.2 Shape of House (source : writer’s documentation, 2016)
Rumoh Aceh was built over the ground with quite high distance and supported by some huge round poles stand arranged. The height of the house standardly is above two meters, relatively up to 2.5m to 3m (Hafnidar, 2016). In order to follow former great-grandparents‟ values, the house is built high over the ground for some reasons. First, avoiding the beast for whom live in mountain area and nearby forest. This reason is kindly understandable because variety of dangerous
UNIVERSITAS SUMATERA UTARA beasts dwell in forest of Aceh. Second, avoiding the flood for them who live in low land and seashore area. The last, the house with high distance over the ground keep out mosquitoes entering because of more high a house built over ground will keep out the host for nuisance of mosquitoes (Buku Panduan Rumoh Aceh page:2 and
Hafnidar, interview, 2016)
4.1.3 Room Separation
Picture 4.3 Room Separation (Source : Putra in Aulia, R. 2015: 8)
Rumoh Aceh has three main rooms. They are seuramoe keu (front room), tungai/seuramoe tengoh (center room) and seuramoe likot (back room). Seuramoe keu functions as a room to receive guest whomever man and woman. But there is a rule for man guest allowed to come in while there should be a man as family member stay in the house, such as father. This room has function as a place for praying, reading Qur‟an, place for an event, lounge and bedroom for son. Tungai/seuramoe tengoh is an important and sacred room in Rumoh Aceh because of parent and daughter live on there. This room also has function as bedroom and devined into two sides. In the west side called rumoh inong placed by parent and in the east side called rumoh anjong placed by girl. Seuramoe likot has function as storeroom and kitchen.
UNIVERSITAS SUMATERA UTARA This room is dominated by woman. Usually for mother and daughter who have most activity in kitchen suh as cooking and plaiting a mat. (Hafnidar, interview 2016).
Roommaking with variety of function is a symbol for everyone to obey the rules. An existing room has function privately, like rumoh inong (room for daughter), public room or seuramoe keu (front room), and seuramoe likot (back room) which woman live dominantly is kind of an effort to teach good manners and ethic in society (Mirsa, R. 2013: 20).
So, separated room in Rumoh Aceh is a culture that implanted by former great- grandparents‟ divide the appropriate private and no private functions, where it thereby aims to limit the space between women and men especially not family members (guests). Separated room is also lead to privacy. Upholds the privacy this is also in islam teachings that be a guide of acehnese people in their daily life.
4.1.4 Tungai/Seuramoe tengoh
Picture 4.4 Tungai/Seuramoe tengoh (Source : Putra in Aulia, R. 2015: 9)
Center room is usually called tungai/seuramoe tengoh, also called juree in
Aceh language means bedroom. Among all the rooms in Rumoh Aceh, center room
UNIVERSITAS SUMATERA UTARA has higher floor to others. Height of this room is about 0.5 m compared to front and back room (Buku Panduan Rumoh Aceh page:5).
Heightening of center room as a sign for main room of the house. It is also an honor to parent as the house owner and separation among the rooms which has high level privacy (bedroom). Beside for an honor to parent, this heightening shows another honor to woman where the room is placed for by only daughter. This kind of thing relates to Islamic values which is mentioned in Al-Quran and Hadits (Prophet saying) about honoring parent and also woman (Hafnidar, wawancara, 2016).
Clearly, there are many verses in Al-Quran and Hadits state to honor parent and woman. It becomes proper for the heightening of center room is made for parent.
In relation to the house, man of Acehnese (who has married) usually call his wife as po rumoh means the house owner. It shows that woman has important and dominant role in house. It is also proper while woman gets honor deeply, especially in of house (Hafnidar, interview, 2016).
4.1.5 Tameeh Raja and Tameeh Putroe
Tameeh Putroe
Tameeh Raja
Picture 4.5 Tameeh raja and Tameeh putroe (source : writer’s documentation, 2016)
Tameeh or pole, mostly found in Rumoh Aceh which has platform shape. There are many poles found there. But, among the many poles, there is a main pole which called Tameeh Raja and Tameeh Putroe which both of size is bigger than others.
UNIVERSITAS SUMATERA UTARA When we are facing in front of the house, then we find tameeh raja located on right side, and tameeh putroe on left side. Tameeh Raja symbolizes father and Tameeh
Putroe symbolizes mother (Hafnidar, interiew, 2016).
Placement of these poles is eventually influenced by principals of Islam which states woman is one of left ribs belong to a man. This placement also believed has an influence to harmony of marriage life in Rumoh Aceh. These poles create balance in the house where parent (father as a king and mother as a queen) are the controller and protecter for the nuclear family, especially children (Hafnidar, interview, 2016).
Not only placement of Tameeh Raja and Tameeh Putroe, but also in some cases in Aceh also put woman on the left of man. For instance, while sitting on the dais, woman sits on left of her man.
4.1.6 Nailless house
Picture 4.6 Nailless House (source : writer’s documentation, 2016)
People of Aceh, especially great- grandparent had designed a building which appropriate with nature condition with made a house resist to earthquake. Moreover, the development of technology in the past did not use nails. So it is a knock-down house type. The house used baji wood and pasak (peg). Sothe buffer, crutch and another are combined by woods and the joints become tight. It was designed to
UNIVERSITAS SUMATERA UTARA outsmart disasters such as earthquake in order that the house will not ruin. For example, during the earthquake and Tsunami of 2004, the house was still strong. The nailless house design of Rumoh Aceh is chosen because Acehnese people could outsmart the earthquake and it was easy to remove because it is knock down system
(Hafnidar, interview, 2016).
Construction of a house without using nails is a cultural taught as decline for decades by great grandparent. Exploitation of natural source also intends to prohibit natural disaster such as an earthquake.
4.1.7 Renyeun
Picture 4.7 Renyeun (source : writer’s documentation, 2016)
Rumoh Aceh, which is in platform shape, has ranyeun or stairs as an access to the entrance. Number of staircase in Rumoh Aceh amounts 13. The staircase made in uneven sum because of some reasons, they are:
People of Aceh follow Islam as their religion. In Islam, there are some verses of Al-Quran and hadits state about almighty Allah loves uneven number (Hafnidar, interview, 2016). One of the statement says, “In truth, almighty Allah is uneven
(witir) and Allah loves eneven number (witir)”. (HR. Al- Bukhari : 6410 and Muslim
: 2677)
UNIVERSITAS SUMATERA UTARA People of Aceh have principals of time concept are: step, reseuki, peutemun,and death. Step means good fate, reuseuki means blessing, peutemun means meeting a mate, and death means bad luck. If the staircase amounts even number, there is an anxiety to fall into death which means bad luck. In other hand, if the sum of staircase amounts even number, it can fall in step or meet which is fine
(Hafnidar, interview, 2016).
Uneven sum of staircase is a religious manifestation for people of Aceh. Not only renyeun or stairs, there are also some activities use uneven principals, such as pesijuek, which always performed by uneven number of people such 3, 5, or even 7 people.
4.1.8 Tingkap
Picture 4.8 Tingkap (source : writer’s documentation, 2016)
Tingkap means window in Rumoh Aceh amounts relatively. Behind the number of windows, there is uniqueness for quite small size. Tingkap or window has function as media for air circulation. More and more air comes into the house then make the room cool all the way.
Tingkap reflects character of Acehnese seems cool and introvert for people meet at first sight, but basically Acehnese are very kind after known well. Similar with tingkap, its small size complicates people look into the house. But after come
UNIVERSITAS SUMATERA UTARA into the house, guest will feel how wide inside the house and how kind of Acehnese
(Hafnidar, interview, 2016).
Beside, tingkap symbolizes Acehnese honor a woman deeply by taking care and covering her aurat (part of the body which may not be visible). When we look from outside, it is unclear what is inside of the house through the windows which are quite small. Meanwhile, woman does many activities in the house, then it will protect woman for keeping out people look her aurat. This is an implementation of Islamic values about obligation for woman to cover her aurat (Hafnidar, interview, 2016).
4.1.9 Aweu
Picture 4.9 Aweu (source : writer’s documentation, 2016)
Aweu or rattan is found on the roof and it is useful as a tie for the roof in
Rumoh Aceh. The roof of Rumoh Aceh is made from rumbia leafs and used aweu as the tie. Its function is as the tie of the woods of the roof and the woods of the house.
The other function is as safety. If there is fire, Acehnese people will not water the house or knock down it, they will just cut off the rope and then the roof will be separated, because the part of the house which will be burned first is the leaf material. So, they will just cut off the rope to reduce the possibility that fire would be bigger. (Hafnidar, interview, 2016).
UNIVERSITAS SUMATERA UTARA People of Aceh accustom to use aweu or rattan as rope to tie in the house which made by sago palm. This kind of thing has taught from generation to generation in order to warn and concern about preparing to disaster such as firehouse. Using aweu is also an element of natural resource usage.
B. Ornament of Rumoh Aceh
Many times of statement by experts, stated about ornament comes from word ornare (Latin) means adorn. In Encyclopedia Indonesia, ornament is explained as every geometric style decoration or others, made into a basic shape from any result of handcraft (furniture, dress; etc) and architecture (Gustami, 2008:3). Another explanation states that ornament is an addition element to structural form. Addition elements existed in building, furniture, weapon, instrument and etc, mostly in two dimensions form. These two limitations above literally say that ornament relates tightly to an effort in adorning something, whether in two or three dimensions forrm
(Guntur, 2004:1)
Mirsa, R (2013) in his book entitled Rumoh Aceh explains that there are four kind of pattern used to find in Aceh, they are
1. Religious Pattern
Religious pattern has Islamic motif such as crescent moon, verses of Al-
Quran, calligraphy which placed to parts of wall, kindang, door, above the
door, tulak angen, bara, above the window and etc.
2. Flora pattern
This pattern is taken to what people see and experience all the day so that
arise an imagination to replace those forms they see before into a carved.
Implementation motif of these flora patterns, are:
UNIVERSITAS SUMATERA UTARA a. Motif of on kayee (foliage motif): such as on murong (murong leaf), on
tubee (sugar cane leaf), on ubi (casava leaf) on bunging seurunee
(seashore leaf) and etc.
b. Motif of akeu (root motif): such as akeu u (coconut tree root), akeu bak
rambot (rambutan tree root), and etc.
c. Motif of bungong (flower motif): such as bungong mata uroe
(sunflower), bungong sitawon (setaman flower), bungong meulu
(simelue flower), bungong jeumpa (manolia flower), bungong seurunee
(seashore flower), bungong keumang sepatu (hibiscus flower) and etc.
3. Fauna Pattern
In spite of flora, there is also animal pattern or used to call fauna. Motifs of
these animal patterns are: Manok (Chicken), kameng (goat), Itek (duck),
angsa (swan), meurebok (pycnootus goiavier), perkutut (small turtledove),
balam (turtledove), tulo (sparrow), merpati (pigeon), mie (cat), and etc.
Particular motif choosen for an easy way being looked everyday such as animals which human used to be interacted and loved, and carved that used to be colourless. Motif of cat and goat are rarely existed. There is only one can be found.
In other, other motifs are exist in the whole of Great Aceh regency. For reasons, cat being loved and lamb is one of favorit food in Aceh, and then these motifs have no relation to religious values (religion). It just uses to adorn something.
4. Nature Pattern
Nature pattern hereby is a formation of nature which is often to see in daily life beside flora and fauna, such as sky and cloud.
UNIVERSITAS SUMATERA UTARA (Mirsa, R, 2013:60) states that some of carves we can find in Rumoh Aceh exist in: rinyeun (stairs), kindang, binteih (wall), peulangan, bara, tingkap (window), pinto (door) and etc.
For the study of Rumoh Aceh in Museum Aceh, the writer found some ornaments and carves which exist in tulak angen, kindang, bara, binteih (wall), and pinto (door) between seuramoe keu and tungai/seuramoe tengoh.
tulak angen
bara
kindang
Tulak angen, kindang, bara (Source : Writer’s documentation, 2016)
1. Tulak angen.
In tulak angen, reseracher finds carves in form: Arabic calligraphy taken from
some verses of holy Al-Quran, taloe meuputa, awan si on/ bungong awan (cloud
in flower forms), bungong keupula, and bungong sagoe (sago palm flower).
2. Kindang
Carve in kindang: bungong keupula, bungong seuleupo, spiraling upward of a
flower.
3. Bara
Carve in bara: bungong keupula, awan si on (cloud in flower forms).
4. Carve in binteih (wall): calligraphy carves basmallah in seuramoe keu.
UNIVERSITAS SUMATERA UTARA 5. Carve in pinto (door) between seuramoe keu and seuramoe tengoh: pucuk rebong,
bungong keupula, and spiraling upward of a flower.
Based on the carves found in parts of the house above, the writerr concludes there are two most ornament found for those are religion ornament and flora ornament.
4.1.10 Religion Ornament
Picture 4.10 religion ornament found in binteih (wall) (Source : Writer’s documentation, 2016)
As mentioned above, religion pattern found in a wall and tulak angen, but picture above only represents the wall. Religion ornament found in form of calligraphy carves which is taken from the verses in Al-Quran. These carves relate to the value in people of Aceh to make Islam as the guidance and directive in life
(Hablumminallah). So, these carves is made as a mean to present Islam in daily life and also as a mean to get closer to Allah. The calligraphies carves is very extremely noticed for placing because of they are taken from the verses of Al-Quran(Hafnidar, interview, 2016). These In seuramoe keu (front room) precisely in binteih or wall, we can find carves written on basmallah in Arabic language. Meanwhile, Islam teachs people when to make a start for everything must say bismillahirrahmanirrahim.
UNIVERSITAS SUMATERA UTARA 4.1.11 Flora Ornament
Picture 4.11 flora ornament found in binteih (wall) (Source : Writer’s documentation, 2016)
As mentioned above, flora pattern found in binteih, tulak angen, bara and
kindang, but picture above only represents the binteih or wall . Flora pattern which is
found in Rumoh Aceh such as spiraling upward of a flower, bungong keupula, pucuk
rebong, bungong seuleupo, bungong sagoe (sago palm flower), and taloe meuputa
and bungong awan si on/ bungong awan (cloud in flower forms).
The carves with flora motif are implementation of values in Islam which teachs
to live side by side with nature (Sunatullah). Flora pattern symbolizes a love to plants
and nature. It is also an effort to conserve of the nature. Carves of flora has function
to adorn the house or as an art (Hafnidar, interview, 2016).
4.2 FINDING
There are eleven signs that the writer found in Rumoh Aceh namely house
position, shape of house, room separation, tungai/seuramoe tengoh, tameeh raja and
tameeh putroe, nailless house, renyeun, tingkap, aweu, religion ornament and flora
ornament. All the signs found in Rumoh Aceh are very interesting because they will
increase our knowlegde and mind about culture. After analysis the signs that found in
Rumoh Acehwe the writer get the findings of the signs that found in Rumoh Aceh.
UNIVERSITAS SUMATERA UTARA Based on Ferdinand de Saussure theory about semiotics, there is signifier and signified. The meaning of the signs summarized in the following table:
Table 1: Signs based on specific feature and ornaments
No Name of Picture of Signifier Signified Explanation
Signs Signs
1. House Position of -Direction Rumoh Aceh is
position Rumoh Aceh towards built stretching
is stretching Mecca out from East to out from (kiblat) Weast as mean to
East to West - Outsmart make imaginery
and face wind line between
towards direction ka‟bah to
North and and sunlight determine
South directive of kiblat
in west side. Also
facing towards
North and South
as an
implementation of
knowledgement to
outsmart wind
direction and
optimalize
sunlight through
UNIVERSITAS SUMATERA UTARA the house.
2. Shape of Rumoh Aceh Protection Rumoh Aceh is
House is a platform and security built over the
shape ground about 2.5
– 3 m then shape
as platform house.
This thing is an
implementation of
protecting from
beast, peventing
mosquitoes
entering and
avoiding flood.
3. Room Separating Implementa There are three
Separatio room in tion of main rooms in
n Rumoh Aceh Islam value Rumoh Aceh,
(privacy) where every room
is built separated
with its each
functions.
Separation is
intended to make
border of room
between man and
UNIVERSITAS SUMATERA UTARA woman, especially
man who is not
family member
(guest), so this
separation more
intends to privacy,
which Islam
teachs to honor
the privacy.
4. Seuramo Position of - An honor Tungai/ Seuramoe
e tengoh/ center room by son to tengoh(center
Center is built parent room) Always be
Room higher than - Honor higher than other
other rooms deeply to rooms. This room
woman functions as
bedroom for
parent and
daughter. This
thing as an honor
to parent as the
owner of house
and also to honor
woman (daughter)
UNIVERSITAS SUMATERA UTARA 5. Tameeh Position of -Man‟s rib From all of poles
Raja dan tameeh raja - Balance that we can find
Tameeh dan tameeh of Parents in Rumoh Aceh,
Putroe putroe and children there are two
-Harmony main poles which
are named tameeh
raja & tameeh
putroe. The
position of
tameeh putroe is
always in the left
side of tameeh
raja. It is related
to believe in
Islam that woman
is the man‟s rib.
Beside, these
main poles are
also meant as the
form of balance
where parents
(father as the king
and mother as the
queen) are
controller and
UNIVERSITAS SUMATERA UTARA protector of their
children. The
position of
tameeh raja &
tameeh putroe is
also believed can
give harmony to
the relation of
husband and wife.
6. Nailless House Form of Rumoh Aceh is
house without the knowledge/ made with knock-
using of nails outsmart the down system
earthquake without using
nails at all. It is
related to the
ready of
Acehnese people
in facing the
earthquake.
7. Renyeun Number of - Mindful of There are thirteen
Steps ALLAH steps in renyeun
-Time of Rumoh Aceh
concept which means odd.
It is related to
believe in Islam
UNIVERSITAS SUMATERA UTARA that ALLAH likes
the odd numbers.
Besides, there is
believes of people
about time
concept that it can
be a bad sign if
the number is
complete.
8. Tingkap The size of -Protect the Windows in
window privy parts. Rumoh Aceh is
-Acehnese relatively small if
people‟s it is compared
character with the big size
of the house, so
that the people
outside cannot
look inside easily.
It is related to
Islam guidance to
protect woman‟s
privy parts where
dominantly
woman acts
inside. Besides, it
UNIVERSITAS SUMATERA UTARA also shows the
character of
Acehnese people
that are looked so
cold from outside,
but, they can be
so friendly if they
have known each
other.
9. Aweu Band of roof Form of There is always
knowledge/ aweu in the up
ready of side of Rumoh
disaster Aceh which
functions as the
band of roof. The
aweu is a form of
knowledge and
ready of disaster,
especially fire.
10. Religion Carving of -Mindful of Carving of Arabic
Ornamen Arabic Allah and calligraphy which
t calligraphy His orders is taken from Al
and Qur‟an as the
Basmallah form of loving to
Kitabullah and
UNIVERSITAS SUMATERA UTARA the carving of
Basmallah as the
realization of
ALLAH‟s orders
to start every
good thing with
Basmallah.
11. Flora Carving of -Wondering Carving of Flora
Ornamen plants of the is very dominant
t creatures of carving in Rumoh
ALLAH Aceh as the effort
-Remaining to remember and
the nature wonder of the
creatures of
ALLAH and a
form of loving to
the nature and
remain it.
UNIVERSITAS SUMATERA UTARA CHAPTHER V
CONCLUSIONS AND SUGGESTIONS
5.1 Conclusions
After analyzing the signs found in Rumoh Aceh, finally these are the following conclusions can be drawn.
The first conclusion is that the 11 signs found in Rumoh Aceh are: house position, shape of house, room separation, tungai/seuramoe tengoh, tameeh raja and tameeh putroe, nailless house, renyeun, tingkap, aweu, religion ornament and flora ornament.
The second conclusion is Acehnese Culture as represented on the signs found in Rumoh Aceh:
The influence of Islam in Acehnese culture also influences the architecture of
Rumoh Aceh which the position is layed down from east to west as the imaginary line between the house and Ka‟bah, the odd number of renyeun or stairs as the effort to mindful of ALLAH always who likes the odd numbers. The small size of tingkap or window as the realization to protect the privacy parts of woman. The Arabic calligraphy which is taken from Al Qur‟an as the form of loving to Kitabullah and also the carving of Basmallah as the effort to realize the orders of ALLAH to start every good thing by saying Basmallah. Besides, it also can be seen from the room separation (seuramoe keu, seuramoe tengoh dan seuramoe likot) in Rumoh Aceh to separate the rooms of man and woman to keep the privacy.
Besides, tungai/seuramoe tengoh or center room in Rumoh Aceh which functions as the special room for parents and daughters which is made higher than the other rooms, it is made as the form of respect to parents and women. One more thing, a pole which is named Tameeh raja is a sign of father and Tameeh putroe is a
UNIVERSITAS SUMATERA UTARA sign of mother in Rumoh Aceh, where tameeh putroe is in the left side of tameeh raja which is also influenced by Islam that says woman is man‟s rib.
Beside of the influences of Islam in Acehnese culture, Rumoh Aceh is also the implementation of the cleverness of Acehnese people in acting the nature. It is shown by Rumoh Aceh which is shape of house as the effort to avoid the flood and wild animals as the way of Acehnese people to adapt to their environment. The materials which are used in Rumoh Aceh are woods means that every material uses the nature, and we can see it clearly from the naillesss house and using aweu as the tie for the roof. Beside of the using of nature, nailless house is the effort to act to the nature especially the disaster such as earthquake and fire. The form of love of the Acehnese people to the nature is also can be seen from the carving in Rumoh Aceh where Flora is the most dominant carving in Rumoh Aceh.
Based on the explanation above, the writer concludes that the Acehnese culture is a culture which is very close to Islam. Everything about the Acehnese culture is related to Islam. The architecture of Rumoh Aceh is the implementation of believe of
Acehnese people and their cleverness in acting the nature. Further, based on my analysis, especially to the sign of tingkap or window, it is said that the character of
Acehnese people is very friendly, eventhough if we see them before we know them, they looked like so cold.
Acehnese culture also always involves the Acehnese language. We cannot see it in the real things, because it is an abstract one. But, the language culture can be seen from the names of the things in Rumoh Aceh which are in Aceh language.
UNIVERSITAS SUMATERA UTARA 5.2 Suggestions
Finally, as the result of this study, it is suggested that the reader should learn more about semiotics because this knowledge is so important and interesting to know. Then the writer suggested that young people should to learn more about our own culture so it will not disappear because of age. The writer hopes that the result of this study,the Acehnese culture and the Rumoh Aceh will be preserved. Hopefully the findings of this study can help the student who wants to do the next study about signs.
UNIVERSITAS SUMATERA UTARA REFERENCES
Arikunto, Suharsimi. 2002. Dasar-dasar Evaluasi Pendidikan. Jakarta: Bumi Aksara.
Bimbingan Edukatif Museum Negri Provinsi D.I. Aceh. 1992. Buku panduan :
Mengenal Rumah Tradisional Aceh. Banda Aceh.
Chandler, D. 2002. Semiotic The Basic. USA: Routledge.
Dane, Francis C. 1990. Research Methods.California: A Division of Wordsworth,
Inc.
Hartshorne, C.et.al. (Ed). 1931-1935. The Collected Papers of Charles Sanders
Peirce, Vols. I-VI. Cambridge: Harvard University Press.
Keesing, R. 1974. Theories of Culture. Canberra: Australian National University.
Kohatri, C.R. 2004. Research Methodology: Methods and Thehniques.Jaipur: New
International Limited Piblisher.
Marana, M. 2010. Culture and Development.Unesco: Center of the Basque Country.
Miles, Matthew B. & A. Michael Huberman. 1994. Qualitative Data Analysis.
London: Sage Publications.
Mirsa, R. 2013. Rumoh Aceh. Yogyakarta: Graha Ilmu.
Pierce, C.S. 1940.Philosopical Writings of Pierce; edited by Justus Buchler. New
York: Dover Publication, inc.
Sandelowski, M. 2000. Focus on Research Methods: Whatever Happened to
Qualitative Description?.Carington Hall, School f Nursing, Chapel Hill, NC
27599. Received 10 September 1999; accepted 14 January 2000. Web.
Sapir, E. 1921.Language: An Introduction to the Study of Speech. Harcourt: Brace
and Company.
Sebeok, T. 2001. Signs: An Introduction to Semiotics. Canada: University of Toronto
Press Incorporated.
UNIVERSITAS SUMATERA UTARA Internet Sources
Asanhary. 2015. 7 Unsur Kebudayaan Menurut Para Ahli. [Online].
(https://btiasanshary.wordpress.com/2015/11/18/7-unsur-kebudayaan-
menurut para-ahli/. Retrieved on May 23rd 2016).
BPCB Banda Aceh.2014.Rumah Aceh atau Rumoh Aceh. [Online]
(http://kebudayaan.kemdikbud.go.id/bpcbaceh/2014/01/26/rumah-aceh-atau-
rumoh-aceh/. Retrieved on May 23rd 2016).
Hofstede, G. 2011. Dimensionalizing Cultures: The Hofstede Model in
Context.Online Readings in Psychology and
Culture.[Online].(http://dx.doi.org/10.9707/2307-0919.1014. Retrieved on May
23rd 2016).
Putra, Reza Aulia and Ekomadyo, Agus S. 2015 Penguraian tanda (decoding) pada
Rumoh Aceh dengan pendekatan semiotika (Elaboration of sign(decoding) of
Rumoh Aceh using semiotics approach) retrived from
http://journal.unika.ac.id/index.php/tesa/article/view/354/312 (october 9th
2016).
______. March 2008. Sign.[Online]. (http://en.wikipedia.org/wiki/Sign. Retrieved
fromMay 23rd 2016).
UNIVERSITAS SUMATERA UTARA APPENDICES
APPENDIX 1 : INTERVIEW
Interviewer : A Informant : B
A : Assalamualaikum Wr.Wb.
B : Waalaikumsalam Wr.Wb.
A : Selamat pagi ibu.
(Good morning Mrs.)
B : Selamat pagi.
(Good morning).
A : Perkenalkan nama saya Ariska Rati Sapitri mahasiswi jurusan Sastra Inggris Fakultas Ilmu Budaya Universitas Sumatera Utara. Jadi begini bu, maksud kedatangan saya kemari adalah untuk mewawancarai ibu mengenai makna dari sejumlah tanda-tanda yang terdapat di Rumoh Aceh ini, terutama tanda-tanda budaya. Menurut info yang saya dapatkan, ibu Hafnidar sendiri merupakan kepala seksi koleksi dan bimbingan edukasi Museum Aceh yang dipercaya menguasai tentang segala makna yang terkandung di Rumoh Aceh ini. Untuk itu, apakah ibu keberatan untuk saya wawancarai ?
(Hello, my name is Ariska Rati Sapitri. I am a student of English Department in the University of Sumatera Utara. My intention to be here is to have an interview with you about the meanings of signs found in Rumoh Aceh, especially the cultural signs. Based on the information that I got, you Mrs. Hafnidar is the head of education and collection Museum Aceh and you are an expert to explain about all of the meanings found in Rumoh Aceh. For that, would you like to be interviewed by me mrs.?)
B : Iya, boleh, silahkan.
(Yes, please!)
A : Baiklah bu, selaku orang yang dipercaya memahami setiap makna yang terdapat di Rumoh Aceh ini, saya ingin mengetahui apa sih bu makna Romoh Aceh ? dan bagaimana sejarah berdirinya Rumoh Aceh ?
(Thank you. As the trusted person to understand every meaning found in Rumoh Aceh, actually what Rumoh Aceh means? And How is the history of it?)
UNIVERSITAS SUMATERA UTARA B : Rumoh Aceh bagi orang aceh adalah awal kehidupan dan Rumoh Aceh juga ruang bagi aktivitas budaya tumbuh. Saya bisa memberi contoh, ketika orang-orang aceh kehilangan rumah di tahun 2004 akibat gempa dan tsunami, mereka tidak hanya kehilangan sanak saudara namun mereka juga kehilangan budaya. Kenapa? Ketika rumah-rumah baru dibangun dengan area yang lebih sempit dan juga berbentuk rumah modern, aktivitas budaya orang aceh berkurang. Biasanya masyarakat menjemur padi, kemudian melakukan proses-proses pengolahan bahan makanan dengan cara-cara yang mereka lakukan selama ini, itu berkurang, karena tidak bisa lagi menggunakan halaman rumah. Itu misalnya.
(Rumoh Aceh was based on the perspective of Acehnese people as the beginning of life and as a place of the growth of culture activities. For example, when many Acehnese people lost their houses in 2004 because of earthquake and tsunami, actually they did not only lose their houses and families, but, they also lost their culture. Why? When the new houses were built in a smaller area and with a modern shape, the culture activities of Acehnese people were reduced. Usually, Acehnese people sun rice, then they whim the foods in the ways they usually do, all of that are reduced because they cannot use their field home anymore. That is for the example.)
A : Kemudian bu, bagaimana sejarah berdirinya Rumoh Aceh ini ?
(Next, how is the history of Rumoh Aceh?)
B : Rumoh Aceh itu unik, orang-orang berfikir bahwa Rumoh Aceh ini dibangun oleh orang aceh. Tidak. Pada tahun 1913 seorang belanda lahir di Aceh, ia membuat rumah yang menyerupai rumah tinggal orang aceh. Rumah ini dibawa ke semarang untuk di ikutkan di acara pameran yaitu bagian dari acara perayaan 100 tahun merdekanya belanda dari perancis. Jadi mereka membuat expo besar kelas dunia di semarang. Jadi, belanda yang ada di aceh membuat suatu paviliun untuk memamerkan barang-barang koleksinya, berupa barang-barang aceh, seperti kain, lampu, senjata,dll. Rumah ini bongkar pasang, dibawa kesemarang beserta koleksinya dan para senimannya, hampir satu bulan dan sukses disana (di pameran). Lalu si belanda tersebut mengatakan kepada gubernur belanda yang di aceh bahwa “rumah ini layak untuk dibawa kembali ke aceh dan dijadikan museum untuk orang-orang aceh”. Tahun 1914 dibawa ke Aceh, kemudian pada tahun 1915 di resmikan sebagai museum aceh.
(Rumoh Aceh is unique. People thaught that Rumoh Aceh was built by Acehnese people. No. In 1913, a dutchman who was born in Aceh built a house which was almost the same as the house of Acehnese people. Then, the house was brought to Semarang to be registered in an exhibition of the 100th year of Holland‟s independence days and they made a world class Expo in Semarang. So, the dutchman in Aceh at that time built a pavilioun to exhibit their collection of Acehnese heritage, such as clothes, lamps, guns, etc. So, thet was an overhaul house and brought to Semarang with the collections and the artists of it. After that, the dutchman told the governer of Aceh that the
UNIVERSITAS SUMATERA UTARA house was quick to be brought back to Aceh and made as a museum for Acehnese people. In 1914, the house was brought back to Aceh and in 1915 it was declared as a museum.)
A : Jadi bu, jika memang Rumoh Aceh ini dibangun oleh orang belanda, apakah tetap bisa Rumoh Aceh ini menjadi cerminan bagaimana kita melihat budaya aceh itu sebenarnya?
(So, if Rumoh Aceh was built by the dutchman, can Rumoh Aceh still be an implementation about the real culture of Acehnese people?)
B : Bisa. Karena setelah jadi museum, kita perkuat rumah ini dengan bagaimana display ruang tamu, display dapur bahkan hingga bagaimana display pelaminan orang aceh yang sebenarnya. Elemen dasarnya tidak berbeda, tetap dengan tiang-tiang, tetap dengan tiga ruangan dasar, tetap dengan jendela, dengan atap bahkan bahan yang sama dengan Rumoh Aceh yang sebenarnya.
(Of course. After it was declared as a museum, we make it strong with the real display of living room and altar of Acehnese people. The basic element is not different, it is still with poles, with three main rooms, with windows, with roofs even with the same material of the real Rumoh Aceh.)
A : Bu, disini saya melihat sangat banyak tiang, apakah jumlah tiang yang banyak ini mempunyai makna tersendiri? Dan mengenai hitungannya, apakah ada hitungan tersendiri, misalkan genap atau ganjil?
(I see there are so many poles here. What does it mean? And for the numbers, is it specified, like odd or full?)
B : Tiang atau dalam bahasa aceh disebut tameeh jumlahnya sudah pasti genap. Tetapi tiang ini jumlahnya mengikuti besaran rumah, besaran rumah itu juga mengikuti ekonomi yang punya rumahnya. Jadi tiangnya biasanya 16, 18, 20, 22, 40, bahkan yang besar ada di daerah sigli terdiri dari 80 tiang. Tiang-tiang itu menunjukkan status ekonomi si pemilik rumah. Dasarnya 3 ruang, di topang dengan tiang, tetapi kalau si pemilik rumah membuka ruang atau membangun 5 ruang, otomatis dia membangun tiang lagi.Tapi, di antara sekian banyak tiang, terdapat tiang utama yang di namakan Tameeh Raja dan Tameeh Putroe yang ukuran keduanya lebih bedar dari tiang lainnya. Tameeh Raja melambangkan Ayah, dan Tameeh Putroe melambangkan ibu. Peletakan posisi tiang ini di pengaruhi pada prinsip ajaran agama islam yang mengungkapkan bahwa wanita adalah tulang rusuk sebelah kiri kaum adam(pria). Selain itu, penempatan tersebut dipercaya dapat mempengaruhi suasana keharmonisan hubungan suami istri di Rumoh Aceh. Disamping itu juga untuk menciptakan keseimbangan bahwa orang tua (ayah dan ibu) adalah penguasa dan pelindung bagi anggota keluarga yang lain, terutama anak-anaknya.
UNIVERSITAS SUMATERA UTARA (Pole or acehnese called tameeh, of course the number is full But, actually the number of the poles are related to the size of the house, and the size is related to the economy of the people. It can be 16, 18, 20, 22, 40, even there is a house with 80 poles in Sigli. The poles show the economy status of the people. There are three main rooms with poles. But, if people want to build more rooms, they need to add the poles. But, among the many poles, there is a main pole which called Tameeh Raja and Tameeh Putroe which are both of size is bigger than the other pole. Tameeh Raja is symbolized father, and Tameeh Putroe is symbolized mother. Placement of these poles is eventually influenced by principals of Islam which states woman is one of left ribs belong to a man. This placement also believed has an influence to harmony of marriage life in Rumoh Aceh. These poles create balance in the house where parent (father and mother) are the controller and protecter for the nuclear family, especially children).
A : Baiklah bu, seperti yang terlihat Rumoh Aceh ini memanjang dari timur ke barat. Apakah semua Rumoh Aceh dibuat seperti itu serta apa maksud dan tujuan rumah dibuat memanjang dari arah timur ke barat?
(As I see that this house is length from east to west. Are all of Rumoh Aceh made like this and what is the intention of it?)
B : Ya, semua Rumoh Aceh memanjang dari timur ke barat. Masyarakat aceh mengadaptasikan keyakinan mereka dengan tempat mereka tinggal. Jadi, arah kiblat itu menjadi alat penentu arah ibadah, sehingga rumah dibuat seperti itu. Tapi ada satu lagi, sebelum islam masuk, orang aceh sudah beradaptasi dengan alam, jadi tingginya atau kuatnya angin barat (iklim di aceh) di siasati oleh orang aceh dengan menentukan arah hadap rumah, jadi ketika arah hadapnya tepat maka rumah tidak akan mudah rubuh, serta cahaya matahari yang masuk kerumah itu maksimal dan satu lagi, aktivitas didapur orang aceh itu didalam rumah bukan dibawah rumah jadi ketika memasak, asap tidak mengepung kedalam rumah, jadi sirkulasi asapnya kembali keluar. Mengikuti arah angin.
(Yes, all of Rumoh Aceh are made like that. Acehnese people adapted their belief to the place they live. So, the direction of kiblat became the main reference for ibadah, that‟s why the house was made. It shows the element of religion which means that Acehnese people are moslems and made Rumoh Aceh directly to face the direction of kiblat in West. But, there is still one more thing, before Islam entered Aceh, Acehnese people had adapted to nature, so the quantity of the west wind (climate in Aceh) was acted by Acehnese people to decide the direction of Rumoh Aceh. So, when the direction was right, the quantitiy of the sunshine was maximum, and also the kitchens of Acehnese people‟s house were not under the house but in the house. It was done because when they are cooking the smoke can get out the house, so the circulation of the smoke was outside the house following the wind direction.)
A : Berarti ada hubungannya dengan arah angin ya bu?
UNIVERSITAS SUMATERA UTARA
(Does it mean that there is a correlation with the direction of wind?)
B : Ya, ada hubungannya dengan arah angin, jadi tidak mengganggu orang tidur juga tidak mengganggu orang yang sedang shalat.
(Yes, so it will not disturb the people who are sleeping or praying.)
A : Bu, kembali ke tiang-tiang tadi, tiang-tiang ini dibuat sangat banyak sehingga Rumoh Aceh dbuat begitu tinggi, apa sih bu fungsinya?
(Ok, back to the poles, the poles were made in a big numbers and made this house high. Actually what the function of it is?)
B : Ya, untuk masyarakat aceh yang tinggal di pesisir, rumah dibuat tinggi seperti ini sudah pasti akan menjadi solusi buat mereka ketika air pasang, jadi rumah nya tidak terganggu dengan air pasang(banjir). Mengenai standar tingginya, tidak dibawah 2 meter, biasanya 3 meter. Banyak aktivitas budaya yang dilakukan di kolong Rumoh Aceh, seperti tempat diadakannya acara, tempat anak-anak bermain permainan tradisional dan juga menjadi tempat aktivitas perempuan menumbuk padi. Bisa dilihat ada tempat penyimpanan padi di ruangan bawah ini.
(For the Acehnese people who live in coast, the house is made higher as the solution when they are getting flood. For the height standard, not less than two meters, it is usually three meters. There are many culture activities are done under the Rumoh Aceh (yup moh). As the place for events, a play area for children to play the traditional play and a place for women to pound rice. You can see down stairs, there is a place to keep rice.)
A : Ngomong-ngomong bu, apakah benar rumah ini seluruhnya terbuat dari kayu dan tanpa paku ? mengapa demikian bu?
(By the way, is it right that this house was made by using woods and nailless? Why?)
B : Ya, proses perkembangan tekhnologi pada zaman dahulu belum kepada penggunaan paku, jadi rumah ini memang knock down ya atau disebut juga bongkar pasang. Rumah ini menggunakan kayu baji, kemudian pasak. Jadi antara penyangga, penopang, dengan bidang-bidangnya disatukan oleh sambungan kayu dan kayu juga digunakan kain hanya untuk mempererat saat terjadi pergesekan.
(Yes. The development of technology in the past did not use nails. So it is a knock-down house type. The house used baji wood and pasak (peg). So the buffer, crutch and another are combined by woods and the joints become tight. It was designed to outsmart disasters such as earthquake in order that the house will not ruin.)
UNIVERSITAS SUMATERA UTARA
A : Ada hubungannya tidak bu dengan rumah anti gempa?
(Is it related to anti earthquake house?)
B : Ya, ada. Kalau mau lihat contoh pada tahun 2004 rumah ini baik-baik saja, ketika ada hentakan gempa mau vertikal atau horizontal ia (Rumoh Aceh) tetap mengikuti arah gempa. Paling pergeseran lantai atau tiang, tetapi itu tidak berarti.
(Yes, it is. As example, this house was still good when earthquake happened in 2004.)
A : Baiklah bu, sekarang bolehkah kita memasuki Rumoh Aceh?
(Oke mrs., can we enter the Rumoh Aceh?)
B : Ya, tentu.
(yes, sure.)
A : Bu, tadi saya sempat menghitung anak tangga, dan jumlahnya ganjil. Mengapa demikian?
(Mrs., I tried to count the number of the stairs and it is odd. Why is it?)
B : Jadi tanga atau dalam bahasa aceh disebut renyeun ini juga batas akses tamu. Jadi didalam rumah, tidak semua orang boleh masuk kedalam rumah ini. kalau yang bukan mahram nya, sudah pasti tidak boleh masuk. Apalagi kalau tidak ada laki-laki didalam rumah, itu menjadi batas. Jadi kalau ada yang datang dengan suatu keperluan, hanya ditangga atau dibawah saja. Tapi kalau misalnya ada laki-laki dirumah misalnya ayah, tamu boleh masuk, itu pun hanya di ruang tamu saja. Mengenai jumlahnya yang ganjil, dalam islam Allah menyenangi yang ganjil. Tidak hanya tangga, dalam banyak hal dikehidupannya, masyarakat aceh melaksanakan hal dengan prinsip ganjil seperti pada saat pesijuek, selalu dilakukan dengan orang dengan hitungan ganjil yaitu 3, 5, atau bahkan 7 orang. Satu hal lagi, Masyarakat aceh mempercayai prinsip : langkah, reseuki, peutemuun, maut. Langkah yang berarti baik, reuseuki yang berarti rezeki, peuteumun yang berarti pertemuan jodoh dan maut yang berarti hal tidak baik. Jika anak tangga berjumlah genap, di khawatirkan akan jatuh ke hitungan maut yang berarti pertanda buruk. Sebaliknya, jika hitungannya ganjil,bisa berarti langkah atau pertemuan yang memiliki arti tidak buruk.
(So, stairs or acehnese called renyeun also function as the limited access of guests. Not everyone may enter this house. If he or she is not the relation, he/she may not come in. But, if there is someone comes with needs, he just can enter the living room. For the odd numbers, in Islam, ALLAH like the odd numbers. Not only stairs, in many ways of its life, acehnese implement
UNIVERSITAS SUMATERA UTARA the principle odd such as pesijuek, always done by people with odd count, that is 3, 5, or even 7 person. One more thing, Aceh Society believed in the principle: step, reseuki, peutemuun, death. Steps which means good, reuseuki which means sustenance, peuteumun which means meeting a mate and death, which means bad things. If the risers even number, in the fear will fall into the death count, which means a bad sign. Conversely, if the count is odd, it could be meant as a step or meetings that have no bad sense)
A : Baiklah bu, ini ruangan yang pertama kita masuki disebut ruagan apa bu?
(Ok, what is the name of this room mrs.?)
B : Ini seuramo keu atau serambi/halaman depan, berfungsi sebagai ruang tamu, ruang keluarga, menerima tamu yang bukan mahram, prosesi ceremony juga disini, mengaji kalau tidak ditempat ibadah juga disini, kemudian shalat bersama disini, makan bersama disini, terus kalau ada prosesi lamaran anak perempuan atau mufakat kampung, itu juga dilakukan disini.
(It is called seuramo keu or the front room. It functions as the living room, family room, unrelative guests room, ceremony, a place to read the holy Al Qur‟an, a place to pray, a place to eat together, propose procession, a place to village meeting. )
A : Berarti ruangan ini ruangan umum ya bu, yang semuanya bisa masuk kesini?
(So, it is public room, isn‟t it? Everybody can enter it?)
B : ya, tetapi jika ada laki-laki dirumah. Jadi kalau ada bapaknya, baik perempuan atau laki-laki boleh masuk, kalau laki-laki tidak ada dirumah, hanya perempuan, tamu laki-laki tidak boleh masuk, hanya sebatas depan pintu saja.
(Yes, but only when there is a man at home. If there is not a man, only women may enter it. The man is permitted only till in front of the door.)
A : Untuk pemilihan atapnya sendiri bu, memang dipilih daun rumbia ya bu?
(For the material of the roof, why is it used sago palm leaves?)
B : Ya, daun rumbia lebih awet dibanding daun yang lainnya dan tahan hujan juga angin. Walaupun tahan, atapnya selalu diganti, 5-10 tahun selalu diganti. Karena mudah berjatuhan remah dari atapnya.
(Yes, because the leaves are more tough than the other leaves and against rain and rain. Eventhough like that, the roof will be changed in once five to ten years.)
UNIVERSITAS SUMATERA UTARA A : Terus bu, ini ada rotan bu, ini kenapa dibuat menggunakan rotan, apakah ada fungsi tersendiri dari rotan ini?
(And for this rattan, what is the function of it?)
B : Dalam bahasa aceh, rotan ini disebut aweu, fungsinya mengikat antara tulang atap dengan tulang rumahnya. Fungsi yang lainnya, ketika terjadi bencana kebakaran, orang aceh itu tidak merubuhkan rumah atau melakukan hal dasar seperti menyiram rumah, mereka hanya perlu memotong talinya, kemudian atapnya akan jatuh. Karena kalau kebakaran bagian yang paling cepat terbakar pasti daun. Jadi hanya memotong awe dan atapnya akan jatuh, untuk menghindari rumahnya terbakar seluruh atau apinya menjalar kerumah.
(Acehnese called aweu for rattan. It‟s function is as the tie of the woods of the roof and the woods of the house. The other function is as safety. When there is fire, Acehnese people will not water the house or knock down it, they will just cut off the rope and then the roof will be separated, because the part of the house which will be burned first is the leaf material. So, they will just cut off the rope to reduce the possibility that fire would be bigger.)
A : satu hal agi bu, disini saya melihat ada hal unik dimana Rumoh Aceh yang begitu luasnya namun mengapa jendela nya sangay keci-kecil ya bu? tetapi jumlahnya banyak. Mengapa tidak dibuat lebih besar sedikit tapi jumlahnya juga tidak begitu banyak?
(One more thing, mrs., here I saw there was a unique thing where Rumoh Aceh are so vast, but why all of the windows are so small, mrs.? but numerous. Why not be made a little larger but the amount is not so much?)
B : Jendela tersebut mewakili karakter orang aceh yang dari luar terlihat dingin atau tertutup namun pada dasarnya jika sudah kenal, orang aceh sangatlah ramah. Sama halnya dengan jendela, jendela yang kecil membuat orang tidak bisa melihat jelas bagian dalam rumah, namun jika telah memasuki rumah, tamu akan merasakan betapa luas bagian dalam rumah dan betapa rumahnya orang aceh.Selain itu, jendela juga melambangkan bahwa orang aceh selalu memuliakan perempuan dengan menjaga dan menghargai auratnya. Jendela mewakili hal tersebut. Jika melihat dari luar, tidak jelas apa yang ada di dalam sementara yang beraktivitas lebih banyak di dalam rumah adalah perempuan. Sehingga jendela di buat kecil untuk melindungi aurat perempuan. Hal ini mangarah kepada ajaran agama islam mengenai anjuran menjaga aurat bagi wanita.
(The window represents the character of the Acehnese which from the outside looks cool or closed but basically if you already know, the Acehnese are very friendly. Similarly, a window, a small window makes people can not see clearly inside the house, but if it had entered the house, guests will feel how spacious interior of the house . In addition, the window also symbolizes not clear what was inside while the move more in the house are women. So that the
UNIVERSITAS SUMATERA UTARA window is made smaller to protect the nakedness of women. This thing leads to the religious teachings of Islam regarding the recommendation to maintain the nakedness of women.)
A : Baiklah bu, kita masuk keruangan yang berikutnya ya bu.
(Ok mrs., can we turn to the next room?)
B : Ya. Antara ruangan depan, ruangan belakang dan ruang tengah dihubungkan oleh (tempat kita berdiri ini) yang namanya rambat, untuk lalu lintas. Sementara ruangan tengah ini bernama seuramo tongoh atau serambi/halaman tengah, biasa dipakai untuk bilik tidur, di kiri dan kanan. Ibu dan ayah sudah pasti disini, dan anak perempuan juga sudah pasti disini.
(Yes. The front, middle and behind room are connected by the room where we are now. It is called as rambat. While, the middle room named as seuramo tongoh or middle room. It is usually used as the space to sleep, left and right side. Parents must be here, daughter must also be here.)
A : Baik bu, ada dua kamar yang terlihat disini, bagian timur kamar untuk siapa dan bagian barat kamar untuk siapa?
(There are two rooms here, for whom the east room and for whom the west room?)
B : Untuk orang tua, tetapi ketika ada pernikahan anak perempuan dalam keluarga, maka kamar orangtua pindah ke bilik yang lain (kamar orangtua ditempati oleh anak perempuan yang baru menikah), atau jika mereka punya dua anak perempuan yang sudah menikah, maka orangtuanya yang pindah jika mereka tidak punya bagian tambahan dalam rumah. Anak laki-laki tidur didepan atau tidur didapur, tetapi lebih sering mereka tidur ditempat ibadah diwaktu malam. Apalagi yang punya kebun, mereka tidur di kebun atau ladang untuk menjaga tanamannya. Kalau ditempat ibadah, mereka mengaji dan belajar agama.
(It is actually for parents, but, when there is a wedding of a daughter in a family, parents will move to the other room (because it will be placed by the daughter who will marry), or if they have two married daughters, parents will move to the other house if they do not have enough space in the house. Sons will sleep in the front room or in the kitchen, but, they often sleep in mosque at night. Especially they who have garden, they will sleep in the garden or farm to keep the plants. In mosque, they study Al Qur‟an and Islam.)
A : mengapa ruangan ini dibuat lebi tinggi dari ruangan lainnya?
(why this room higher than another room?)
UNIVERSITAS SUMATERA UTARA B : Peninggian ruangan ini sebagai pertanda ruangan inti dalam rumah dan juga sebagai bentuk penghormatan terhadap orang tua sebagai pemilik rumah dan juga merupakan batas ruang yang memiliki tingkat privasi tinggi (kamar tidur). Jadi, selain penghormatan kepada orang tua, peninggian ruangan ini juga menunjukkan penghormatan kepada kaum perempuan karena ruangan ini juga ditempati oleh anak perempuan, hanya anak perempuan. Hal ini juga menyangkut dengan banyaknya ajaran islam yang disebutkan pada ayat atau hadist tentang menghargai orang tua dan juga memuliakan wanita. Dalam kaitannya dengan rumah, orang aceh(laki-laki yang sudah berkeluarga) biasanya menyebut istrinya dengan sebutan po rumoh atau pemilik rumah, hal ini menunjukkan betapa wanita memiliki peran dominan di dalam rumah sehingga ia disebut pemilik rumah. Wajar saja jika wanita sangat dimuliakan, terutama di rumah.
(Heightening of center room as a sign for main room of the house. It is also an honor to parent as the house owner and separation among the rooms which has high level privacy (bedroom). Beside for an honor to parent, this heightening shows another honor to woman where the room is placed for by only daughter. This kind of thing relates to Islamic values which is mentioned in Al-Quran and Hadits (Prophet saying) about honoring parent and also woman. In relation to the house, man of Acehnese (who has married) usually call his wife as po rumoh means the house owner. It shows that woman has important and dominant role in house. It is also proper while woman gets honor deeply, especially in of house)
A : Baik bu, saya ingin melihat ruangan terakhir. Ruangan terakhir ini disebut ruangan apa bu? dan fungsinya sebagai apa aja?
(Ok, may I see the last room? What is the name of this room and what is the function?)
B : Ini seuramoe likot atau serambi/ruangan belakang, di kanan untuk penyimpanan barang dan di kiri untuk dapur.
(This is seuramoe likot or behind room. The right side is used to keep things and the left side is used as kitchen.)
A : Semua yang di dapur ini dibuat sendiri ya bu?
(is everything in this kitchen handmade?)
B : Iya, dari bahan alam.
(Yes, the materials are gotten from the nature.)
A : Disini juga td saya melihat banyak ukiran-ukiran, biasanya masyarakat aceh menggunakan ukiran motif apa sih bu?
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(I also see many carvings over here. What carving motifs do the Acehnese people usually use?)
A : Beragam. Yang mereka ukir biasanya dinding, kemudian tiang. Ukiran yang paling sering itu adalah flora, seperti bunga keupula, semangai, bunga waru ( berbentuk love), tali yang saling berkait, dll.
(Many things. They usually carve wall, poles. The most carvings are flora, such as keupula, semanga, waru flowers (related ropes, etc.)
A : Apakah ada makna tersendiri dari setiap ukiran?
(there is the specific meaning in the carvings?)
B : Ya, jika dilihat di depan rumah bagian tulak angen, terdapat ukiran kaligrafi arab yang di ambil dari tulisan yang terdapat pada Al-Quran, merupakan upaya masyarakat aceh dalam mengingat kitab ALLAH. Ukiran semacam ini sangat diperhatikan peletakannya, biasanya memang di bagian tulak angen. Satu lagi, ada ukiran bertuliskan bacaan basmallah, itu juga berarti mengingat ajaran ALLAH untuk selalu memulai apapun dengan bacaan basmallah. Seperti yang tadi saya katakan, yang paling sering dan selalu ada ya pasti ukiran flora, ini merupakan upaya masyarakat aceh dalam menjaga kelestarian alam dan mencintai ciptaan Allah. Ukiran tersebut juga sebagai penghias rumah atau dengan kata lain merupakan wujud seni.
(yes, if it is seen in front of the house part of tulak angen, there are carvings of Arabic calligraphy in the capture of the writings contained in the Qur'an, is an effort of Acehnese to remember the Qur'an. Carving of this kind is considered its laying, it usually does at the tulak angen. One more thing, there is a carving that read basmallah , it also means remembering the teachings of ALLAH to always start anything with readings Basmallah. As Isaid before the most frequent and there is alwaysthere, yes, floral, this isan effort of Acehnese in the preservation of nature and loving of God's creation. Te funcitions of the carvings is also to decorate the house or in other words a form of art)
A : Lantas bagaimana dengan ventilasi yang mdibuat dengan ukiran tembus dan dibuat begitu banyak? Apakah ada hubungannya dengan mensiasati bencana seperti tsunami?
(How‟s about the ventilation which is made in big numbers? Is it related to the disaster punishment?)
B : Ya, jadi Rumoh Aceh itu kalau dilihat dari struktur bangunannya, kemudian fungsi-fungsinya, ada 3 hal yang jika adanya ombak tinggi maka akan memecah ombak, yaitu yang pertama, dengan adanya ruas tiang-tiang, tiang- tiang tersebut dapat memecah ombak yang mana omba tidak akan tertahan
UNIVERSITAS SUMATERA UTARA pada rumah. Kedua, air yang masuk kedalam rumah juga tidak akan tertahan melainkan aan keluar lagi dengan adanya ukiran tembus yang cukup banyak dari depan sampai belakang, dan yang ke tiga adalah bentuk atap yang menyerupai piramida, yang mana atap tersebut pastilah akan memecah ombak, tidak seperti rumah yang atapnya berbentuk datar. Kemudian juga, tingginya rumah ini untuk menghindari dari binatang buas, dan nyamuk, semakin tinggi letak rumahnya maka nyamuk juga tidak banyak masuk.
(Yes. So, based on the building structure and the function of Rumoh Aceh, there are three things when if the high wave comes, it will crush it. The first, by the phalanx of the poles, the poles can crush the wave and the wave will not be broken down the house. The second, the water which enters the house will not break down, but, it will come out by a special space. And the third is the shape of roof which is like a pyramid where the roof will crush the wave. It is not like the house with flat roof. Next, the height of the house is intended to escape from wild animals and mosquitos. Higher the house, the mosquitos will not enter the house.)
A : satu pertanyaan lagi bu. Tedapat tiga ruangan yang di jumpai di Rumoh Aceh ini, apakah ada maksud atas pemisahan ruangan tersebut?
(one more question mrs. There is three room found in Rumoh Aceh, is there a purpose of the separated rooms?
B : Pemisahan ruangan pada Rumoh Aceh ini merupakan budaya yang ditanamkan oleh nenek moyang pada zaman dahulu untuk membagi ruangan sesuai fungsi privat dan non privat, dimana hal demikian bertujuan agar membatasi ruang antara wanita dan pria terutama yang bukan anggota keluarga (tamu). pembagian ruangan ini juga sangat mengarah kepada privasi. Menjunjung tinggi privasi ini juga merupakan ajaran-ajaran dalam islam yang menjadi panutan bagi orang aceh dalam kehidupan sehari-hari
(Separated room in Rumoh Aceh is a culture that implanted by former great- grandparents‟ divide the appropriate private and no private functions, where it thereby aims to limit the space between women and men especially not family members (guests). Separated room is also lead to privacy. Upholds the privacy this is also in islam teachings that be a guide of acehnese people in their daily life.
A : Baiklah bu, terimakasih banyak atas kesedianan waktu yang ibu berikan dan juga semua info mengenai Rumoh Aceh ini. Semuanya tentu sangat bermanfaat bagi saya.saya juga mohon maaf apabila banyak terdapat kesalahan selama wawancara. Wasalamualaikum wr.wb
(Mrs. Hafnidar, thank you very much for your time and your informations about Rumoh Aceh. All of your explanations are very useful for me. I also apologize if I make mistakes in this interview. Wasalamualaikum wr.wb)
B : waalaikumsalam wr.w
UNIVERSITAS SUMATERA UTARA APPENDIX 2 : BIOGRAPHY OF INFORMANT
BIOGRAPHY A. PERSONAL DATA: Name : Hafnidar.S.S.,M.Hum Nationality : Indonesia Sex : Female Date of Birth : November 22, 1976 Home Address : Jl. Permata No. 35 Teuku di Blang, Gampong Mulia, Banda Aceh - Office Address : Museum Aceh Jl. Sultan Alaidin Mahmudsyah No. 3 Banda Aceh - 23116 Mobile Phone : +62 087882294645 Telp : +62 651 26206 Email : [email protected]
B. EDUCATION: Postgraduate University of Indonesia Faculty of Culture Science Museology Program (Graduated in 2014) Ministry of Education and Culture Indonesia- Scholarship
Undergraduate University of North Sumatera Faculty of Literature (Graduated in 2001)
STBA Medan- North Sumatera Faculty of Literature (Graduated in 1998)
UNIVERSITAS SUMATERA UTARA C. PRESENT JOB INFORMATION: (1) Institute : Aceh Culture & Tourism Agency, Aceh Government (2) Unit Department : Education and Collection Section at Aceh Museum (3) Position : Museolog and Head of Section 2016 -
D. PREVIOUS JOB INFORMATION: (1) Curator 2014 – 2016 (2) Designer of Permanent Display for Museum Kepresidenan RI Balai Kirti, Bogor 2013- 2014 (3) Reseacher for Role of Social Media in Museum KAA, Bandung 2014- 2014 (4) Member of Taskforce Team for Aceh Tsunami Museum 2012 -2013 (5) Staf Educator at Museum Aceh 2010 -2014
E. SPEAKERS: (1) Moderator on FGD Asmat Culture toward World Heritage at Taman Mini Indonesia Indah, Jakarta, 2014 (2) Speaker on Local Seminar “Interactive and Parcipatory Museum”, Aceh Museum, 2014 (3) Speaker on FGD Museum of Mou Helsinki “Bring our Past to Post- Modern Museum”, Banda Aceh, 2015
F. PARTICIPATION ON SEMINARS, SHORT COURSE, WORKSHOPS: Australia Awards Fellowship at Deakin University Mebourne. The titled “Capacity building in The Indonesian Museum Sector” 2016
Capacity Building Program on Tourism Marketing and Management, Singapore Cooperation Program (SCP), Singapore 2016
Seminar and Workshop Dyslexia Awareness Month, Aceh 2016
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Team Support for Aceh Halal Culture Destination Vote, Aceh 2016
Seminar The 6th International Conference on Aceh and Indian Ocean Studies, Aceh 2016
Seminar Traditional Games of Indonesia, Aceh 2015
Training Conservation at Balai Konservasi, Jakarta 2014
Workshop Photography Documentation in Erasmus Huis The Kingdom of Netherlands, Jakarta 2013
Indonesian Studies Update seminar Series, Jakarta 2013
Seminar Pati 2” No Canals in Majapahit”, Jakarta 2013
The International Seminar on Epigraphy and Ancient Indonesia History, Jakarta 2012
G. PUBLICATIONS/NEWSPAPERS: (1) Rahmadhani & Hafnidar (2012), Betapa Kecil dan tak Berdayanya Kita (How Small and Powerless We are When a Disaster Strikes us), http://aceh.tribunnews.com/m/index.php/2012/12/28/betapa-kecil-dan- tak-berdayanya-kita, Serambi Indonesia, Tanggal 28 Desember 2012.
(2) Rahmadhani & Hafnidar (2012), Warisan Budaya Dalam Ancaman Bencana Alam (Aceh Cultural Heritage under Disaster Threats) ,http://aceh.tribunnews.com/2012/09/05/warisan-budaya-dalam- ancaman-bencana-alam, Harian Serambi Indonesia, Tanggal 5 September 2012
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APPENDIX 3 : DOCUMENTATION
House Position Shape of House
Nailless house Stairs
UNIVERSITAS SUMATERA UTARA Tingkap
Aweu
Tameeh Raja and Tameeh Putroe
Tameeh Putroe
Tameeh Raja
UNIVERSITAS SUMATERA UTARA Carvings
Bara Tulak angen
Kindang
The carvings found in pinto teungoh (between seuramoe keu and seuramoe likot)
UNIVERSITAS SUMATERA UTARA the carvings found in binteih or wall
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With the informant, Mrs. Hafnidar S.S., M.Hum at Rumoh Aceh
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