LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 ISSN: 0304-2294 Observation of Multimodal of Bersanding in Malay Wedding Visual Images in North Sumatra

LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 Observation of Multimodal of Bersanding in Malay Wedding Visual Images in North Sumatra

T. Thyrhaya Zein*, T. Silvana Sinar, Rohani Ganie

Fakultas Ilmu Budaya, Universitas Sumatera Utara, Jl. Dr. T. Mansur No. 9, Padang Bulan, Medan, North Sumatera 20222, Indonesia. Correspondence author: [email protected]

Issue Details Abstract Issue Title: Issue 2 Received: 25 April, 2020 This study aims to identify the interpersonal multimodality represented in the visual im- Accepted: 22 May, 2020 Published: 30 June, 2020 agery of selected traditional Malay wedding ceremonies. It analyzed eight visual images Pages: 15 - 33 of a selected stage during the wedding ceremony in North Sumatra. The data were collected through a documentation technique and analyzed using interactive model analysis. Copyright © 2020 by author(s) and These results showed that the visual images were captured when photographic technol- Linguistica Antverpiensia ogy was not as developed as today. They presented the participants mostly from the

frontal angle, without involving eye line to the viewer, and with the entire figure and distance around it, indicating a far social distance. Furthermore, the multimodal perspective was presented in various lower, higher or eye-level, angles, which vary the distribution of power with the viewer. These images showed low modality, printed in monochrome, and did not represent the actual colors in reality. However, this factor was not changed as the color representation in the photograph was still limited at the time. Also, it contrasts mainly with photographs captured before 1953, as their angle and social distance of color images appear more diverse and intimate respectively. Although the gaze of the proposed participants does not appear to be present in almost all of the photos as the distance in the last was shorter. The modality of these colorful images was higher with subtle saturation, brightness, and contextualization.

Keywords multimodal; visual image, Malay; traditional wedding

Introduction

According to Halliday (1978), language is a social semiotic system, which shows great realization for communication. Semiotic sign generated by hu- mans or a cultural group includes all languages that appear in a variety of materials to be used as a representation of the meaning (Yakin & Totu, 2014). One of them is visual images or signs where it contains valuable information (Ståhl & Kaihovirta, 2019). Also, Kress and van Leeuwen (1996) confirmed that visual signs in certain circumstances may be repre- sentative. The representation is performed by "encoding", and has been around for a long time. Besides, Zalar, Urban, and Barbara (2015) also point out that the longer encoding process occurs in non-verbal communication because it does not only create a connection with a partner but also promotes

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 the right sensitivity to personality. For example, communication takes place in the design and interpretation phase of an object. The resources to be used in this phase can be changed at any time following the intentions of the designer. For analysis purposes, studies describe the forms of representation (extra-linguistic, paralinguistic, means such as drawings and photographs) in the terms drawn from the theory of language. Systemic Functional Lin- guistics (SFL) studies all aspects of communication, both verbal and non- verbal, in various forms. It also explores the meanings created in all means of communication to explain the purpose and representation. Purser, Drey- fus, and Jones (2020) support this view by defining SFL as configuring meaning in a particular and dynamic context, stratification, which refers to the many levels of semiotic systems and patterning. This includes seman- tics, lexicogrammar, phonology, and phonetics (Cordeiro, 2018). However, SFL was applicable (Monbec, 2020) since it has a new successor called multimodal analysis.

Multimodal analysis arises because linguists previously had only the single- modal focus, which was on the study of spoken and written language. A single or monomodal mode means that the exchange of information takes place through an active channel (Hong, 2012). Language is produced by combining verbal and non-verbal information as various modes to achieve communication (Mestre, 2015). According to Ruiz-Madrid & Fortanet- Gómez (2015), a multimodal analysis is only performed when both linguistic and non-linguistic features are jointly analyzed. Shin, Cimasko, & Yi (2020) add that multimodal discourse analysis conceptualizes the meaning- making process through multiple modes. Furthermore, Sinar (2018) clari- fies that a multimodal text combines two or more means and gives the meaning of communication both to verbal and visual interaction in multimodality.

Guijarro and Sanz (2008) explain that the similarities between linguistic and visual narrative processes cover aspects of the idea, interpersonal relation- ships, and textual function, which relate to the metafunction of the visual image. Metafunction analysis of multimodal develops in terms of visual means in the assumption of visual 'grammar' describing the elements represented as people, places, and things, which are combined in visual 'state- ments' of greater or lesser complexity (Kress & Leeuwen, 1996). Kress took the example of the spoken language, which is understood as a communication tool (through intermediary of individual members), uttered through the material (sounds, voices, fonts) of the culture medium, and then formed as a means of speech (Altas, 2014). Conversely, visual images interpret experiences from around the world as seen and presented by the manufacturer while conveying their representational meaning.

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 The multimodal text is close to the context of culture and its use as a broader influence on communication (Taylor, 2019). One of the examples is in the traditions of a wedding ceremony. Indonesia consists of hundreds of ethnic groups that have different customs in celebrating their members' marriages. For example, the unique Minangkabau marriage tradition manjapuik marapulai of anak daro’s family (bride) comes to the groom's house to perform the wedding party (Tanjung, et al, 2018). A series of marriage processes in the Malay community in North Sumatra – consists of different phases rang- ing from a marriage proposal with a period of the man looking for a poten- tial bride (or merisik) and undergoes a long period of 24 steps before the wedding ceremony (Sinar, 2011; Kartolo (2017). The process of the wedding ceremony, which has been agreed by the parents or families of the bride and bridegroom, usually follows the Malay community traditional marriage procedure. This process complies with the principles of Islamic religion and the influence of local tradition (Hidayat & Rafida, 2019). Various multimodal forms require different media and Kress took the example of spoken language, used for understanding, as a means of communication formed through intermediary of individual members, uttered through the material of sounds, voices, and font as the medium of speech (Altas, 2014). In ancient times, there were twenty-seven phases of traditional marriage performed by people. However, people do not go through the multiple stages of such a conventional marriage recently. The Malay community in North Sumatera has simplified the traditional wedding to the current situation and condition. It is because people’s appreciation and affection to the culture and domestic products have decreased gradually.

This study examines the visual images represented in some photographs de- picting one of the steps in the Deli, Serdang, Langkat, Kualuh, and Kota Pinang Royal Malay wedding ceremony. There was only one related study on multimodality in the Malay wedding ceremony conducted by Rahmah (2014). The analysis was based on the ideational, interpersonal, and textual metafunction represented in the verbal and non-verbal texts in Lala and Iq- bal wedding ceremony. This study limits interpersonal metafunction represented in the visual images of ceremonies conducted in six periods of time from 1926 to 1953.

The Bersanding tradition is reflected in the visual images presenting the brides and bridegrooms (Adidikata, 2017). The brides had to stoop their heads and were not allowed to gaze at the others around them while the bridegrooms have the liberty to look straight during the ceremony. Bersand- ing is one of the marriage processes used or conducted since ancient times until now. The bride and bridegroom sit side by side on the dais. During the bersanding, the tradition of marhaban and Islamic prayers are recited. Then the lines of poetic verses as the accompaniment of the session are being commented to make it remains festive.

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 In Tepung tawar ceremonies, the bride and bridegroom’s mother as well as the father splash the perincis compound, i.e., a mixture of a bowl of water, a handful of white rice mixed with sliced lime, and a bunch of tepung tawar materials composed of seven kinds of product to have the purpose of advis- ing the bride and bridegroom not to go against the Islam religion through reading some poetic verses (Annisa & Lubis, 2019). By holding tepung tawar sincerely, the bride and bridegroom’s families have blessed them to run their happiness household life.

The performance of all steps in North Sumatran Malay traditional wedding ceremony is now rarely found in the community. This situation motivates the study to analyze old visual images in the memory of Malay people. Therefore, eight photographs were selected from the collection of images, which depicted the traditional wedding ceremonies. Those pictures were from the Royal family of Deli, Serdang, Langkat Kualuh, and Kota Pinang Sultanates representing essential meanings in their values. The study used a multimodality approach by Kress and Leeuwen to interpret the interpersonal metafunction meaning expressed in the images and compare them to an- other.

Serious efforts should be made to disclose and document traditional literature treasures. The data were chosen following the availability of the photographs in the Tengku Luckman Sinar's private gallery, which depicted the same step in all selected wedding ceremonies. The period's selection aimed at providing a comparison of the interpersonal relations of visual presentation of the chosen images throughout the last nine decades.

Theoretically, the results are useful for language research as a guide when using the SFL framework in the multimodal analysis. Practically, this study can be an input to the local government policy in preserving the local culture as local wisdom that will serve as the identity of the region. The use of SFL theory from the perspective of the metafunction of language-multimodal analysis in the visual images of traditional wedding ceremonies should be given special attention as it is prescribed by the custom, based on the religious laws. The problem in this study is, "What are the interpersonal multimodal represented in the visual images from the selected Malay traditional wedding ceremonies?”

According to Kress and Leeuwen (1996), the interpersonal metafunction plays a central role of visual representation, which consists of contact, social distance, attitude, and modality. In this regard, modality classified seven markers to interpret the real world. These are color saturation, differentiation, modulation, contextualization, representation, depth, illumination, and brightness. Furthermore, Kress and Leeuwen (1996) argue that the representation of photographs differs from those of diagrams and schemes. An

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 image in any form usually requires different components to be analyzed, such as relative to color, form, design, and other technical properties (Negm & Tantawi, 2015). Conversely, the photograph restricts itself to representing the things that will be visible. It presents the viewer with a moment in which the participants are detailed. It shows strands of hair, wrinkles, and glimmers of light. Also, it shows depths, modeling caused by the play of light and shade, a setting, a background, and presents itself as a naturalistic, unmediated, and uncoded representation of reality.

Research Method

This is a descriptive qualitative study, where data were collected using the documentation technique. With the description, the study gives direction to the interpretive analysis of the text, which shows verbal language and visual images.

Considering that the object is a socio-cultural phenomenon that represents visual images of traditional marriage, the most appropriate approach, according to the study, is qualitative analysis. The analysis of the data used description, explanation, and interpretation of a symbol of visual images in mind or the memory of individual people. The data of the research were seven visual images obtained from the Royal Malay wedding photographs, which portrayed the selected step of bersanding and tepung-tawar of (1) Prince Osman Al Sani (the son of Deli Sultan Amaluddin Sani Perkasa Alam) with Princess Norshida (the daughter of Raja Kecik Sulong from Pe- rak Sultanate Malaysia, in 1925, (2) Prince Amiruddin (the son of Deli Sul- tan Amaluddin Sani Perkasa Alam) with Princess Nor Ashiah (the daughter of Raja Kecik Sulong from Perak Sultanate Malaysia) in 1935, (3) Prince Darmansyah (the son of Sultan Kualuh) with Princess Azhar (the daughter of Deli Sultan Amaluddin Sani Perkasa Alamsyah in 1939, (4) Prince Kamil (son of Langkat Sultan) with Princess Arfah (the daughter of Asa- han Sultan Husyinsyah) in 1933, (5) Prince Murad Azis (the son of Langkat Sultan Abdul Aziz) with Princess Maheran (the daughter of Deli Sultan Osman Perkasa Alam) in 1948, (6) Prince Abu Nawar Sinar (the son of Serdang Sultan Sulaiman Syariful Alamsyah) with Princess Molfi (the daughter of Deli Sultan Osman Perkasa Alam) in 1953, (7) Prince Murad Azis (the son of Langkat Sultan Abdul Aziz) with Princess Maheran (the daughter of Deli Sultan Osman Perkasa Alam) in 1948, and (8) Prince Adenin (the grandson of Kota Pinang Sultan) with Princess Umi Nazam (daughter of Prince of Asahan) in 1951.

The data analysis technique used was the interactive model of Miles, following the principle of Huberman, and Saldana (2014), which consisted of data condensation, display, and verification. In the data condensation, the study selected the visual image. It focused on six visual images of

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 bersanding and two optical images of tepung tawar of wedding ceremonies. Then the data were categorized due to the components of interpersonal meaning represented in the visual images. The data were simplified and la- beled with images 1 to 8. The study displayed the selected data in the form of visual images. In the last stage, the text construction of the interpersonal meanings contained in the images was investigated. The data analysis was limited to the interpersonal metafunction of language represented in photographs.

Finding and Discussion

The selected images of Bersanding and Tepung-tawar in the Deli, Serdang, Langkat, Asahan, Kualuh, and Kota Pinang Malay traditional wedding ceremonies were captured from 1926 to 1953.

In Image 1, Prince Osman Al Sani Perkasa Alam and Princess Norshidah were sitting in the bridal dais, and the bride bowed her head while the bridegroom seemed not to stoop his head. From a multimodal perspective, the bridegroom shows ‘Demand’ to viewers looking at a point in his right side, and seemed to possess the power of attitude. From the representation perspective, the bridegroom as the senser showed confidence to take a higher view than the other participants (the reactors). Therefore, the image is presented as demand since there was eye contact between the senser 1 and the viewers. This image demanded interaction from the information about the traditional Malay wedding ceremony in return. Meanwhile, the bride as senser 2 showed an act of Offer rather than Demand toward the viewers by simply providing information about the event and the participants captured in the image without demanding anything back from the viewers. The la- dies-in-waiting all gaze at the camera, and there was one that was sitting very close to the bride.

The aisle is located right in the middle of the image. The position is higher than the hall floor containing seven stairs before reaching the aisle. There are two poles on the left and right side decorated by various kinds of flowers. At the top of the aisle, there is a dome-shaped mosque roof consisting of one central dome more substantial than the other two. The image illus- trates the thickness of Islamic culture in the Malay communities. The bride and bridegroom sit on the left side and right side of the aisle respectively (without using a chair). The clothes used by the bridegroom consist of a head covering (called tengkulok), a white teluk belanga (traditional Malay dress for men), and a songket cloth around the waist. Meanwhile, the bride used a scarf covering on the hair in a bun style, a white baju kurung (traditional Malay dress for women), songket cloth around the waist, and a necklace around the neck and chest.

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294

Figure 1. A Wedding Ceremony of Prince Osman Al Sani Perkasa Alam and Princess Norshida (1926).

The photographer took this picture with a long shot in terms of distance. The participants presented in a full human figure and surrounded by a lot of background implies the objectivity and range of the image. Kim, Carello, and Turvey (2016) argue that the reduced viewing angle of an object at the observation point decreases with increasing physical distance, but the perceived size remains the same. However, the photographer took the picture from a particular distance with a similar perception in mind. Specifically, the event and the participants in this image were depicted in the range sig- nifying a mental gap felt by the photographer. In addition, Kress and Leeu- wen (1996) argue that it can apply to the visual representation of objects and the environment. For instance, when an object is shown at a close distance in the advertisement, the viewer feels like using the tool, reading the book, or eating the food presented in the advertisement. The distance makes the viewers feel like strangers to the participants. Unlike the sensers series, which involves a relationship with the viewer, there is intimacy or friend- ship that the photographer feels with the participants, as most of the women waiting in this photo are closely linked. This view was due to their sitting arrangement in the foreground position.

Besides, this image was taken in 1926 for the modality printed in monochromic colors of black and white. Nasteruk (2016) stated that all photographs, provide a sense of represented time. This is because they recorded the happening at the time they were made. Therefore, they have a special connection with the past and reality. Larzabal, Tramoni, Muratot, Thorpe, & Barbeau (2018) reported that black and white photography brings longer retention to the viewer, allowing the recognition of the event even after 17 years on average. This sense represents time in the specific black and white image and can come from inside (past, present, future) or outside of time (sacred or surreal). Therefore, the black and white photograph may be said to exist in five broad modalities of classic (past); Documentary (present);

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 Oracular (future); Sacred (the outside of time as eternity); and Surreal (the outside dream's time or imagination).

This image was too bright and less contrasted. At the same time, the foreground seemed to be more detailed and more prominent than the background. Although, the only photography technology at the time this image was taken was only black and white, and it demonstrates low modality. This image may have appeared more real on the assumption that the brightness and contrast have been increased, as well as a more detailed background.

The focus of this image was the bridegroom, but the other people in front of the couple were not out of shot. The photographer took the picture from a far distance (long shot). This was probably because the technology of photography at that time did not allow a close shot. The mobility of photography devices was also a problem. However, these seeming disadvantages turned to a strong point for the image. This is because people were seen more intimate and the image captures the crowds that were befitting for the wedding of the future king. The color contrast caused by the monochrome colors made the images more detailed, even if it seemed simple at first. Despite the simplicity of the image, the scene is superb, which is due to both the number of participants and the brightness. The number of participants included in this picture also showed that the photographer intended to use pictures as a denotative system to bring the whole fact of the event together (Rodriguez & Dimitrova, 2011).

Figure 2. Wedding Ceremony of Prince Tengku Amiruddin from Deli with Princess Nor Ashiah (1935).

Figure 2 caught the attention of the viewers as they washed it. The aisle is located right in the middle of the image, and the position is higher than the hall floor, as there are two stairs before reaching the top. On the left and right sides are two carved poles. On the aisle, there is the seat for the bridegroom, and behind it, is a variety of decoration that forms a picture of Malay traditional house's roof. The clothes used by the bridegroom consist of a

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 head covering (called tengkulok), a black teluk belanga (traditional Malay dress for men), a songket cloth around the waist, and ornaments such as a necklace on the chest. Meanwhile, the clothes used by the bride include a head covering embroidered with golden patterns, which cover the hair in a particular bun style, namely a lipat padan bun or tegang bun, black baju kurung songket cloth (traditional Malay dress for women) and a songket scarf placed over the shoulder that stretches up to the waist, a necklace around the neck and chest, and a bracelet around the wrist.

The depth of image 2 showed a wide view and a graceful background, which is full of ornaments. The photographer captured this image from a direct frontal with a low-angle. According to Kress and Leeuwen (1996), when the proposed participant is seen from a low angle, then the relation between their interaction and designation is depicted as one with power over the viewers (Ly & Jung, 2015). The low angle of the shot makes the participants powerful. Generally, it establishes an impression of the superiority of the participants, and the bride and bridegroom in particular, as it was the wedding of a son of the Deli Sultanate.

Furthermore, the gaze of the reactors varies in this image; some below the stage looked at a point on their left side. Others, including the bride, stooped down obeying the rule of the tradition, with the two reactors (young boy) at the back looking at the camera. In contrast, the bridegroom looked at a point on his right side, and the gaze of the participants is dominantly absent to the viewers. However, the two young boys pay their gaze at the viewers (pre- sumably, they were excited that the photographer took their picture). It shows that they are demanded to engage with the participants and the event. This is similar to Zohrabi, Dobakhti, and Pour (2019), where it was stated that the participant's gaze always demands something from the viewers. For example, ask them to enter into some kind of imaginary relation with the figure in the picture. In terms of social distancing, the bride, bridegroom, and reactors were captured with a long shot. It involves objectivity, some degree of social distancing, and no close relationship with the viewers.

Unfortunately, the saturation of the photograph is a minimum color to mod- ulate black and white. These colors do not indicate high modality, which means that this image is far from what it looked like at that time. The photograph does not represent the real colors of the clothes, accessories, and ornaments used in the event. However, this modality may be problematic considering that photos taken in the same year as this image, 1935, were all black and white due to the development of photography technology. This image showed good brightness, contrast, and contextualization. On the assumption, the image was taken in colors, it can have a higher modality.

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 Nevertheless, this image also provided a magnificent picture to the viewer. The sharpness caused by the monochromatic colors made the details of the dais and the ornaments worn by the bridegroom and bride stand out. The image portrayed the intimacy of the many people in the photograph. Even though it was captured in a shot closer than the previous image, it has more participants than the previous one. The number of people and the beautiful details of the dais, made the image grand and befitting for a royal marriage, despite the low modality of monochromatic colors.

Figure 3. Traditional Malay Wedding Ceremony of Prince T Darmansyah with Princess Azhar (1939).

In figure 3, the aisle is exactly located right in the middle. The aisle floor is covered with carpet, and on the left and right front, there are two poles. Also, there is a wedding seat on which the bride and bridegroom sit. Behind the seat is a roof-shaped decoration of the Malay traditional house. The left and right parts of the aisle are covered with a curtain, and the bridegroom wears a head covering (called tengkulok), a white teluk belanga (traditional Malay dress for men), as well as a songket cloth on the waist with black shoes. Meanwhile, the bride’s clothes consist of hair ornaments placed on the bun, a dark-colored baju kurung (traditional Malay dress for women), some ornaments such as chains on the neck that stretches up to the chest, and selop bertekad (a kind of golden embroidered slippers).

In terms of modality, this image is also monochromatic, and it is showed by the color saturation, modulation, and differentiation. The interesting thing about this photo is that the bride and groom bowed their heads at this wedding and had no requests during the ceremony. This view does not appear in the other photos of the bride and groom as they are seated at their wedding.

As for the social distance represented in this image, the participants are depicted in a closer shot and eye-level. Mental processes are predominant because the vectors formed as a device connect two participants, the sensor

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 and the phenomenon. In this part, the vector is the witness’s eye line toward phenomenon (Sinar, 2018). The image seems to imply a distant relationship with the viewers. Besides, a particular position is established for the viewers through eye level, showing that the participants are from the same world as the viewers. An eye-level shooting also means the focused participant in the image is the most special and most trustworthy (Baranowski & Hecht, 2017). Despite the privileged position given to the viewers, the participants do not demand to be involved in the situation captured. This is because they are others besides the focused participants. Therefore, the image is presented as an offer since there is no eye contact between any of the presented participants and the viewers. Also, it offers information about the traditional Malay wedding ceremony without demanding any interaction in return. Fur- thermore, it showed low modality as all its markers did not show the real- ness of colors of background and foreground of the participants. The most detailed context and the event were demonstrated by good contextualization and abstraction. The background seemed to be conceiving, and the depth showed its perspective with shade. Also, it featured fewer participants than in the first two images. It was closely similar to Image 3, which portrayed intimate and private royal wedding settings. The background was not repro- duced in great detail because the image was too bright. However, the details in the foreground were featured greatly. The color was monochromatic, and it was represented by the details of the dais decoration as well as the ornaments. This image was focused on capturing the decorations featured in the royal wedding.

Figure 4. Wedding Ceremony of Princess Arfah with Prince Kamil (1933).

The social distance of this image creates impersonality, and it shows the participants as strangers to the viewers. The long shot, as shown in the picture showed that the human figure occupies about half the height of the frame (Babali & Atai, 2016). The photographer took this image from a frontal angle and at a lower edge proved by the ceiling. According to Kress and Leeuwen (1996), the frontal angle suggests that the viewer has a privileged and particular position. Such an angle neutralizes the image

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 perspective from any distortions. Therefore, the photographer wanted the viewer to have a special position for the participants and the event in the image. Meanwhile, the eye-level shot establishes the shared power toward the participants in the image and the viewers. Hence, this image's point of view is one of equality, and there is no power difference involved.

Outside the contact, there is gaze from the bridegroom, but it does not meet the viewer's eye. Also, it does not invite the viewers to the world inside the photograph. The participants are just merely offering information to the viewers. Moreover, the image showed monochromic colors as most of its modality markers depicted high closeness to reality. The truth is indicated by the contrasting colors, which were well saturated. However, this image was depicted in-depth, its background was not in detail and truthful. Also, the play of light and shade is seen clearly.

Taken from a long shot, the images present a few participants contrasted with the ample space provided in the image. They are present in the corner, possibly to clear space in front of the couple on the assumption that the photographer can take the main focus. This type of long shot gives the impression that the image is empty. However, it was used to capture the monochrome colors of the dias decoration. Even though the brightness over- shadowed the background details, the image still represented a befitting royal wedding.

Ultimately, this image provides information through the presence of the gaze to introduce the viewer as they attend the wonderful occasion of the royal family. The photographer captured this image at the eye level, which suggests that even though the most powerful person handled the event in the Sultanate, there was no difference in the power between the participants in this image and the viewers.

Figure 5. Malay Traditional Wedding Ceremony of Prince Murad Azis with Princess Maheran (1948).

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 Figure 5 is presented to the public as an offer since participants are looking at a different point than the camera/photographer. The absence of gaze at the viewers suggests an offer of information, without any demand to be involved in any way beyond accepting or rejecting the offers made by the photographer. However, similar to the previous image, the bride stoop down while the bridegroom lifts his head as per custom in the wedding ceremony.

As for the social distance, this image is captured in different degrees of a long shot from the earlier ones in the older period. The photographer captured it with a long shot, but more closely than the previous images. This implies a closer relationship between the presented participants, the event captured, and the viewers, compared to the previous images. Besides, the participants are not represented from above or below. This shows equality since there is no power difference established between the participants and the viewers. The image managed to present equality to the viewers. The power establishment is supported by the low-angle shot as the bridegroom is one of the Langkat Royal family members.

This image provides viewers with information about the Royal Family's wedding ceremony, which was objectively displayed from the front corner without demanding any feedback from the viewers. Interestingly, the relation between the photographed people and the viewers are presented closer and given equal power. Furthermore, Kress and Leeuwen (1996, p. 122) explain that "The relation between the human participants and the viewer is an imaginary relation. People are portrayed as though they are friends, or as strangers." In addition to modality, the image was produced in black and white, indicating a low pattern. The low modality was demonstrated from the brightness and contrast, which seemed to be lacking. The intensity blurred some details of the dais as well as the wedding attires, and are not properly seen by the viewers.

Figure 6. Wedding Ceremony of Prince Abunawar with Princess Molfi (1953).

Figure 6 was presented as a demand for information to the viewers by the presence of the gaze, both from the bridegroom and the bride. However, it

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 was taken from the privileged position of the viewers by looking at the great event of the Royal family. The event was conducted by the most powerful person in the Sultanate, and there was no difference in the power between the participants and the viewers since both Sensers are demanded.

The floor of the aisle is covered by a circle-shaped pattern carpet. Around the circle are three vases with artificial flowers, in which two are located on the right hand of the bridegroom, and the other one is on the left hand of the bride. There are two chairs located inside the circle-shaped pattern of the carpet. Also, there are various kinds of flowers located behind the chairs. The bridegroom’s dress consists of a head covering (called tengkulok) made of songket cloth, a patterned and dark-colored teluk belanga (traditional Ma- lay dress for men) songket cloth on the waist, and black shoes. Meanwhile, the bride's clothes consist of hair ornaments placed on the bun, a patterned and dark-colored baju (traditional Malay dress for women), earrings, some ornaments such as chains on the neck that stretches up to the chest, and selop bertekad (a kind of golden embroidered slippers).

This image also suggests that the bride was not influenced by the groom's traditional rule of bowing during the wedding. This visual is comprehended when one knows that the bride is one of the members of the Royal family with the power to rule.

A demand for information on a significant event in which the represented participants have power upon the viewers, but not demanded to be involved or to give anything in return. However, this image was taken by a direct frontal angle at the eye level, following Kress and Leeuwen (1996) report, where the viewer has a privileged and special position. Such an angle neutralizes the image perspective from any distortions. The photographer aimed to give the viewer a particular position concerning the participants and the event in the image. Meanwhile, the eye-level shot establishes the shared power toward the participants and the viewers. Therefore, this image's point of view is one of equality, and there is no power difference involved.

These previous four images were captured when photography technology was not as developed as the present time. The photographs were produced only in black and white. According to Nesteruk (2016), a black and white photograph is an initial effect of the past. This means that they are more authentic than the color photograph. Conversely, this image has been presented very close to reality. Even though this statement is different from what Kress and Leeuwen (1996) proposed the realistic representation of an image. The black and white images suggest low modality because they are different from the reality, which is perceived in color.

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 This image also has fewer participants than previous photos with only the bridegroom and bride in it. In this context, the image pays the most attention to the focused participants. Even though the monochromatic images provide lower modality, their sharpness pictured the background's details. In this image too, instead of the dais, some flowers decorate the bersanding seats of the wedding couple. The colors of the flowers are not visible but may be assumed to be bright colors. The colors provide a great contrast to the dark tones of the wedding attire. Despite having fewer participants, the image looked grand from the number of flowers presented and the details in the image that was caused by the color contrast and sharpness.

Figures 7 and 8 below showed the tepung tawar session as one of the ex- pressions of the Malay tradition of blessing. This is usually from the families of both sides for the happiness of the bride and bridegroom in the exer- cise of their life. The bride and bridegroom, while given tepung tawar, kept sitting on the wedding dais (pelaminan). The tepung tawar is placed on the pahar (high tray) with the seven kinds of materials, e.g., white rice means a fertility symbol, yellow means good progress, poutpourri means the good name, fried paddy and rice flour means probity. The bride and bridegroom’s parents take the bond of tepung tawar leaves of ramuan penabur (mixed materials), dipped it into the water, and smears it on their palms. The image below shows the mother putting the ramuan penabur on their heads and the palms for the bride and bridegroom for the blessing of hopes to run their household life.

Figure 7. Tepung Tawar in Malay Traditional Wedding Ceremony of Prince Murad Azis with Princess Maheran in 1948.

Figure 8 showed the bride's father as the doer of tepung tawar splashing perincis compound (a compound of water mixed with sliced lime). This ac- tivity has the meaning of hopes for them to run their household life. The materials of tepung tawar show the symbolic meanings of fertility, good progress, integrity, magical energy of unseen power; eternity through their sticky characteristics; a protection against natural disturbances; survival for their strong roots; coolness, peace, and good defence.

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 In terms of multimodal, comparing Images 7 and 8 show an act of offering rather than demand toward the viewers. They “present” information about the event and the participants captured in the image without asking the viewers anything. These images indicate that they did not request the viewers to be engaged in the ceremony conducted.

Figure 8. Tepung Tawar in a Wedding Ceremony of Prince Adenin with Princess Umi Nazam (1951).

As for the social distancing, both images were captured with a long shot. The participants in figures 7 and 8 were presented in full human figures, implying their distance with the viewers. The event and the actors are depicted in this image by the distance. This appears as an outsider to the viewer, indicating a mental distance between the photographer and the participants. Meanwhile, these images were captured from the oblique angle of the right or the left side of the participants. The oblique angle also helps the viewers to focus on the ceremony of tepung tawar. In terms of modality, these images were also lacking in sharpness, which further reduced the detail captured in the previous two. Therefore, the images are not considered large, but as a more personal and intimate, private royal wedding.

Modality cues in all images also indicate the category represented by monochrome color images, and they do not present reality or truth. However, when brightness and depth have been depicted better, it will have higher modality because the color was one of the weaknesses of the photography technology encountered in capturing valuable moments in the past.

Conclusions

The observation and analysis of the multimodal metafunction in photographs from different periods was very interesting. The results of this analysis showed that the photographs were captured in a time when technology was not well developed. The participants are mostly from a frontal angle, without involving eye line to the viewer, and with the whole figure and distance around it indicating a far social distance. As for the perspective, they

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LINGUISTICA ANTVERPIENSIA, 2020, Issue-2 www.hivt.be ISSN: 0304-2294 were presented in various angles of lower and higher, eye-level, which varies the distribution of power with the viewer.

Additionally, the modality of these photographs was not less interesting. Images 1, 2, 3, 4, and 7 had lower modality with a lack of brightness, contrast, color differentiation, and clearer foreground. They indicated low modality since they were printed in monochromatic color as well as not represent the true colors in reality. However, this factor is not changed as the photography as at then was limited in color representation. Conversely, images 5, 6, and 8 were highly saturated and sharp, with good lighting and brightness. Despite the low modality shown by the color markers, this image demonstrated a high degree with good color differentiation, modulation, contextualization, and fully conceived background.

These images were mostly opposed to the photographs captured before 1940, the angle and the social distance were mostly appropriate and intimate, respectively. The photographer dared to portray the participants and the event from different frontal and oblique angles. Although the gaze of the represented participants in almost all photographs seemed to be absent, and the distances were shorter. Also, the modality of these photographs was higher with fine saturation, brightness, and contextualization.

Acknowledgment

The authors are grateful to Perpustakaan Tengku Luckman Sinar for providing the data sources and funding the research project.

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