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Hegemoni Kasta Dalam Tiga Prosa Karya Oka Rusmini I Jurnal Bakti Saraswati Vol.06 No.02September 2017 ISSN : 2088-2149 HEGEMONI KASTA DALAM TIGA PROSA KARYA OKA RUSMINI I Komang Widana Putra Program Studi Pendidikan Bahasa dan Sastra Indonesia Fakultas Keguruan dan Ilmu Pendidikan Universitas Mahasaraswati Denpasar Email: [email protected] ABSTRAK Tradisi lokal masyarakat Bali sering menjadi inspirasi para pengarang untuk menulis karya sastra. Tiga prosa karya Oka Rusmini dalam kajian ini berlatar kehidupan Bali mengetengahkan masalah hegemoni kasta yangbanyak menderitakan para tokoh perempuannya. Ketiga karya itu adalah novel Kenanga, novelet Sagra, dan novel Tarian Bumi. Hasil analsisis menunjukkan hegemoni kasta dalam ketiga karya ini terungkap lewatbahasa, adat, kehidupan sosial, serta aktivitas sosial. Kata Kunci: hegemoni, kasta, perempuan Bali ABSTRACT Balinese community’s local tradition frequehtly becomes inspitations to authors in creating their literary works. three prose written by Oka Rusmini in this study were based on Bali daily life which focuses on caste hegemony nproblems that mostly bexpereinced by the female characters. These three prose are Kenanga novel, Sagra novellette, and Tarian Bumi novel. the results of the analysis showed that caste hegemoni min these three works is reaveled through language, culture, social life, as well as social activities. Keywords: hegemony, caste, women Bali I. PENDAHULUAN mengakar dalam masyarakat adalah Oka Karya sastra yang mengangkat tema Rusmini. Banyak karya sastranya lahir sesuai akar tradisi pengarang tumbuh dan berdasarkan warna lokal tradisi Bali. Di dibesarkan sebagai semacam keunikan antara karya fiksi Oka Rusmini, yang yang memberikan tambahan cakrawala paling menarik untuk dibahasdalam tulisan pengetahuan pembaca untuk mengenal ini adalah tiga karya prosanya yaitu novel Indonesia. Pengangkatan tema yang Kenanga, novelet Sagra, dan novel Tarian demikian, bisa dilihat pula, sebagai bentuk Bumi. Pemilihanketiga prosa tersebut, perlawanan terhadap tradisi yang ada. karena menggambarkan warna lokal yang Beragam karya sastra lahir, karena sebuah menjadi ciri utama Oka Rusmini sebagai tradisi yang membuat masyarakat itu seorang novelis Indonesia. sendiri menderita. Hal inilah yang ingin Selain karena kekuatan warna lokal diungkap pengarang di dalam karya yang menceritakan tradisi masyarakat Bali, fiksinya. hal lain yang menjadi daya tarik utama Salah seorang pengarang yang ketiga karya fiksi ini adalah tentang menangkap tradisi demikian kuat permasalahan yang disodorkan pengarang. 1 Jurnal Bakti Saraswati Vol.06 No.02September 2017 ISSN : 2088-2149 Ketika orang mengatakan bahwa ketiga baru mencul setelah Bali ditaklukkan oleh fiksi ini sangat kental dengan feminisme, Majapahit pada tahun 1343 Masehi, yang karena menceritakan tentangperjuangan kemudian disusul dengan munculnya perempuan dan dikarang oleh perempuan, gelar-gelar kebangsawanan baru, yang namun ada hal yang berbeda dan luput dari mungkin asli Bali, karena gelar yang perhatian. Hal itu adalah tentang dipergunakan di Bali tidak semuanya ada hegemoni. padanannya di Jawa. Dengan demikian Hegemoni bertitik tolak dari konsep kasta adalah hasil politik rekayasa Gramsci, bahwa suatu kelas dan Majapahitisasi terhadap Bali (Karepun, anggotanya menjalankan kekuasaan 2007: 7). terhadap kelas-kelas di bawahnya dengan Wiana (2005: 34-57) menjelaskan cara kekerasan dan persuasi (Simon, 2004: perbedaan antara warna dan kasta. Warna 19). Lebih lanjut dijelaskan kelas yang merupakan penggolongan masyarakat hegemonik adalah kelas kelas yang berdasarkan fungsi dan profesi. Dalam mendapat persetujuan dari kekuatan dan ajaran agama Hindu dikenal adanya empat kelas sosial lain dengan cara menciptakan warna/ catur warna yaitu brahmana, orang dan mempertahankan sistem aliansi yang bertugas untuk memberikan melalui perjuangan politik dan ideologis pembinaan mental dan rohani serta (Simon, 2004: 22). spiritual, ksatria, orang yang bertugas Terlihat dalam tiga prosa karya Oka untuk mengatur negara dan pemerintahan Rusmini yang menjadi kajian ini, serta rakyatnya, waisya, orang yang hegemoni yang dilakukan oleh orang- bertugas untuk mengatur perekonomian, orang yang memiliki status sosial dan sudra, orang yang bertugas untuk brahmanaterhadap status sosialsudra. memenuhi kebutuhan hidup orang lain. Status sosial, yang kerap disebut di Bali Sistem kemasyarakatan yang sebagai sistem kasta memunculkan tergambarkan dalam cerita mengaburkan hegemoni di dalam tiga prosa karya Oka antara catur warna dan kasta. Catur warna Rusmini ini. Sistem kasta yang sampai itu sendiri yakni pembagian masyarakat sekarang masih membelenggu masyarakat menurut swadharma (profesi) masing- Bali membagi masyarakat Bali menjadi masing orang. Profesi itu adalah brahmana empat kasta yakni kasta brahmana, (sebagai pemikir), ksatrya (pelaksana ksatrya, wesya, danjaba.Selain itu, pemerintahan), wesia (pengusaha), dan masyarakat Bali juga memiliki identitas sudra (pekerja). Dalam perkembangannya berupa kewargaan (klan) seperti warga Catur Warna menjadi kasta di Bali. Kasta Pasek dan warga Pande. Bedanya kasta berasal dari bahasa Portugis yang artinya bersifat hirarkis, klan bersifat sejajar. bangsa, ras, jenis (Diantha, 2010: 50). Pembagian tersebut membuat orang Sebagaimana yang disampaikan dalam dengan kasta tertentu merasa berbeda lampiran Bhisama Sabha Pandita Parisada derajat, kewajiban, serta hak yang melekat Hindu Dharma Indonesia Pusat Tahun pada dirinya. Akibat ketidaksamaan itu, 2002, penyimpangan ajaran Catur Warna secara tidak langsung ada kelompok yang yang sangat suci ini sangat meracuni mendominasi dan didominasi. perkembangan agama Hindu dalam Sejarawan pada umumnya menuntun umat Hindu selanjutnya. menyatakan bahwa sistem kasta di Bali 2 Jurnal Bakti Saraswati Vol.06 No.02September 2017 ISSN : 2088-2149 Warna bersifat dinamis.Ia berubah Wellek dan Warren (1990: 111) sesuai dengan perubahan profesi yang membuat klasifikasi menjadi tiga digeluti seseorang. Seumpama, apabila ia mengenai sosiologi sastra. Pertama, saat ini sebagai seorang pegawai sosiologi pengarang yang pemerintahan, ia memiliki tugas mengatur mempermasalahkan status sosial, ideologi pemerintahan, ia memiliki warna ksatria. sosial dan lain-lain yang menyangkut Apabila sepuluh tahun lagi, ia pensiun dan pengarang sebagai penghasil karya sastra. memilih jalan sebagai seorang pendeta Kedua, sosiologi karya sastra yang yang memberikan pembinaan rohani dan mempermasalahkan karya sastra itu spiritual kepada orang lain dan masyarakat sendiri, yang menjadi pokok penelaahan luas, maka ia memiliki warna brahmana. adalah apa yang tersirat dalam karya sastra Dengan kata lain, warna akan berubah dan apa yang menjadi tujuannya. Ketiga, sesuai dengan profesi atau swadharma dari sosiologi sastra yang mempermasalahkan orang yang bersangkutan. Melalui analisis pembaca dan pengaruh sosial karya ini, masyarakat dapat memahami dengan sastra.Sosiologi sastra yang dipergunakan lebih baik terhadap sistem kemasyarakatan dalam analisis ini adalah sosiologi sastra yang ada di Bali. pada klasifikasi yang kedua. II. METODE III. PEMBAHASAN Metode dan teknik yang digunakan Dalam pembahasan disajikan dalam tulisan ini yaitu pustaka dan mengenai hegemoni kasta dan bentuk pencatatan dokumen. Teknik pengumpulan hegemoni kasta yang terdapat dalam tiga data yakni: (1)membaca novel Kenanga, prosa karya Oka Rusmini. Analisis novelet Sagra, dan novel Tarian Bumi mengenai hegemoni kasta tersebut dengan seksama, (2)mengklasifikasikan mempergunakan teori sosiologi sastra. tindakan, cara berpikir tokoh yang Teori sosiologi sastra dipergunakan menghegemoni tokoh-tokoh yang ada di berdasarkan asumsi kehidupan sosial dalam ketiga fiksi ini, dan (3) menentukan sebagai pemicu lahirnya karya sastra. bentuk hegemoni dalam tiga prosa karya Kenanga, Sagra, dan Tarian Bumi Oka Rusmini. merupakan potret dokumen sosial Teori sosiologi sastra dipergunakan mengenai kehidupan masyarakat Bali. dalam analisis ini. Asumsi dasar sosiologi sastra adalah bahwa kelahiran sastra tidak 3.1 Hegemoni Kasta dalam kekosongan sosial. Kehidupan Status sosial kerap kali menjadi sosial akan menjadi pemicu lahirnya alasan untuk menyepelekan keberadaan karyasastra (Endraswara, 2008: 77). Karya seseorang dalam masyarakat. Utamanya sastra akan mendokumentasikan ketika seseorang memasuki sebuah kehidupan sosial budaya masyarakat komunitas baru yang memiliki kebiasaan tertentu. Sebagai sebuah dokumen sosial, berbeda dari komunitas asalnya.Kebiasaan karya sastra tidak hanya akan merekam tersebut misalnya cara berkomunikasi, begitu saja peristiwa-peristiwa yang terjadi etika berbusana, berperilaku, dan lain-lain. di sekitar masyarakat, namun turut pula Tak terkecuali dalam ranah fiksi.Oka merefleksikan zaman. Rusmini sebagai pengarang berdarah Bali, mengungkapkan dalam salah satu 3 Jurnal Bakti Saraswati Vol.06 No.02September 2017 ISSN : 2088-2149 novelnya Kenanga, turut berbicara yang lebih pantas sebagai bapaknya, mengenai masalah status sosial yakni brahmana yang kaku dan tak bisa kasta. bersosialisasi. Hidupnya habis untuk Kasta, yang dianggap seseorang melayani laki-laki yang demikian. sebagai sebuah status sosial yang Sebagaimana yang telah diutarakan, terkadang membuat orang lain untuk bahwa status sosial brahmana merupakan membatasi gerak-geriknya terlihat dalam status sosial yang terhormat.Bahkan, novel ini. Kekuasan kasta yang sudah dalam salah satu tokohnya seorang wong diteguhkan oleh para tokoh tua yang jero, pelayan, Luh Intan dalam novel memang masih memegang teguh pakem Kenanga, menganggap kaum
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