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

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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 col- lected 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 perspec- tive was presented in various lower, higher or eye-level, angles, which vary the distribu- tion of power with the viewer. These images showed low modality, printed in mono- chrome, 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 dis- tance 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 15 LINGUISTICA ANTVERPIENSIA 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 linguis- tic 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 mean- ing of communication both to verbal and visual interaction in multimodal- ity. 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 repre- sented 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 communica- tion 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 expe- riences from around the world as seen and presented by the manufacturer while conveying their representational meaning. 16 LINGUISTICA ANTVERPIENSIA 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 marap- ulai 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 wed- ding 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 multi- modal 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 an- cient times, there were twenty-seven phases of traditional marriage per- formed 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 repre- sented 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. 17 LINGUISTICA ANTVERPIENSIA 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
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