THE CONCEPT OF GENDER IN CIREBON ORAL
LITERATURE AND ITS TRANSFORMATION IN THE MEMITU SLAMETAN RITUALS
Nurul Atikah Fauzi
Indonesian Language and Literature Education, Universitas
Swadaya Gunung Jati, Cirebon, Indonesia
ABSTRACT
Cirebon oral
literature, specifically tembung éntar,
is an essential cultural resource that reflects societal values, particularly
concerning gender roles. However, previous studies have not thoroughly examined
how these expressions play out in ritual practices, highlighting a gap that
this research seeks to fill. This study investigates the concept of gender
found in tembung éntar and how it
changes within the traditional ritual of Slametan Memitu. Employing a
qualitative descriptive approach with semiotic analysis, 412 tembung éntar texts were analyzed. The
data collection process involved documentation and analysis performed in four
stages: gathering data, reducing it, presenting findings, and verifying the
results. The findings showcase symbolic representations of gender roles in
which tembung éntar indicates masculine
and feminine qualities, including persistence, diligence, care, and obedience.
The Slametan Memitu ritual transforms these symbolic meanings into cultural
practices, illustrated by expressions such as “Asah, Asih, Asuh” and “Manek
gunung temurub jurang,” which emphasize mutual support and resilience. This
research offers a fresh perspective by connecting oral literature with ritual
performance, stressing the cultural representation of gender roles. Upcoming
studies could investigate similar transformations in different cultural
settings.
Keywords: gender concept, Cirebon oral literature, memitu
slametan
Corresponding
Author: Nurul Atikah Fauzi
E-mail:
[email protected]
INTRODUCTION
Literature is a part of society as a potential medium for implementing
character education values for the younger generation because it contains the
local wisdom of ethnicities in Indonesia
The recreative function provides a sense of pleasure, happiness and entertainment
As a type of literature that developed in the 1800s, Cirebon oral
literature has never been separated from the development of Javanese literature
Tembung éntar is a metaphorical word or a word that has no real meaning.
Traditional literary forms that include tembung
éntar include bebasan, paribasan, and sloka
If associated with the concept of gender, we can explore the meaning
of the concept by analyzing the meaning of the oral literature of tembung éntar. Generally, gender can be
defined as social differences based on biological or visible differences
between the sexes. The definition of gender is to see the differences between
males and females in terms of the characteristics of their attitudes and
behaviors in a socio-cultural context. When God created two kinds of human
beings, they were male and female. In this case, the cultural development of a
group of communities establishes their respective norms in a manner that is in
accordance with the natural factors that surround them.
In the context of gender representation, Cirebon’s oral literature
illustrates culturally defined roles for men and women. Traditionally, men are
depicted as strong, decisive, and responsible, while women are portrayed as
nurturing, patient, and supportive (Handayani & Novianto, 2004). This
duality reflects a cultural understanding of complementary roles within family
and community life. The cultural richness of tembung éntar finds its ceremonial expression in the Slametan
Memitu ritual, a traditional ceremony celebrating the seventh month of
pregnancy (Busro & Qodim, 2018). This ritual symbolizes societal values,
emphasizing cooperation, mutual respect, and spiritual harmony. Ritual elements
like "Asah, Asih, Asuh" underscore the ideals of sharing
knowledge, providing love, and nurturing family bonds.
This study highlights the transformation of traditional values into
living cultural expressions by examining the cultural narratives within Cirebon
oral literature and the practices embedded in the Slametan Memitu ritual. This
interplay between oral literature and ritual practices offers insight into how
culture perpetuates itself through generations, adapting yet retaining core
values deeply rooted in Cirebon's heritage. According to the above definition,
this work sheds light on how Cirebon oral texts, especially tembung éntar, reflect gender ideas and
their translation into ritual practices. The paper focuses on symbolic meanings
in traditional language and sheds light on how cultural storytelling
perpetuates social norms and values.
The work bridges a gap in the literature by linking oral-literary and
ritual practices, highlighting how cultural content is not only linguistic but
also performative in ritual societies such as the Slametan Memitu. There has
been little research on this connection, particularly on a gendered basis. This
research focuses on how gender identities are negotiated, defended, and
redefined through oral literature and ritual. It aims to show how tembung éntar is an effective vehicle
for communicating and enforcing social norms around gender in Cirebon society.
These results suggest semiotic interpretations of cultural emphases can also
illuminate structural and gendered ritual structures. This can also help to
frame discussions of cultural conservation, gender studies, and oral traditions
as ways of preserving cultural heritage more generally.
METHOD
The research methodology used in this study is qualitative with a
descriptive approach, focusing on exploring and interpreting the cultural
significance of tembung éntar in
Cirebon oral literature and its transformation within the Slametan Memitu
ritual. The data source includes 412 tembung
éntar texts chosen for their relevance to the research emphasis on gender
concepts. Data collection was conducted using reading and documentation
techniques. The texts were analyzed for symbolic representations of gender
roles through a semiotic analysis approach, highlighting the interpretation of
signs and symbols embedded in the expressions. To ensure the validity of the
data, various validation techniques were applied. Triangulation of data sources
was achieved by cross-referencing different literary sources, historical
records, and cultural narratives to confirm the authenticity of the tembung éntar expressions. Peer review
and expert consultation were carried out with cultural experts and literature
scholars to validate the interpretations and contextual accuracy of the
gender-related themes identified in the texts.
Furthermore, member checking involved gathering feedback from cultural
practitioners familiar with Cirebon traditions to refine the analysis and
confirm the relevance of the identified symbols. To ensure transparency and
replicability of the study, detailed records of the data collection and
analysis process were kept to maintain an audit trail. Data analysis followed
four main stages: data collection, data reduction, data presentation, and
verification. The study aimed to provide a well-documented and contextually
grounded exploration of the intersection between oral literature and ritual
practices in Cirebon culture through this systematic approach.
RESULTS AND
DISCUSSION
As a genre of oral literature, tembung éntar has considerable
benefits. Among other things, it serves as advice that contains moral values
for the people of Cirebon, which are indirectly related to the concept of
gender in the Cirebon society itself. In general, we acknowledge that the
characteristics of women and men are certainly different. Women are recognized
as gentle creatures with neat personalities, meticulousness, patience, and more
talkative or chatty, which are characteristics of feminism
Table.1 Results of Analysis of Tembung éntar with Gender
Concepts in the Masculine
|
Tembung éntar |
Meaning of Tembung
éntar |
Analysis Result |
|
1. Aja dawa-dawa ula |
Don't
extend it. There never was a snake that was very long. If
there is a problem, please not extend it, but learn from it. |
The
character of men is that they dislike prolonging problems. |
|
2. Alang-alangana tumbak cucukan
segara gunung |
Obstructed
by the protrusion of a mountain spear. Strong
determination and ready to overcome all challenges. |
Male
character is persistent and determined. |
|
3. Amprok maling, rikat playuné |
Encountering
a thief, swiftly running away. Decision-making should be speedy and appropriate
for the purpose. A thoughtful and decisive solution. |
The
characteristics of men are virtuous and decisive. |
|
4. Belok gigiré |
Dirty back. Worked
energetically and enthusiastically at deep threshing until the sludge was up
to his back. Worked diligently despite dirty bodies. |
The
character of men is hardworking. |
|
5. Endas dadi sikil, sikil dadi endas |
Head
becomes feet, feet become head. Someone who actually works hard and
doesn't appear to have any time to rest. All efforts are made so that what is
desired is immediately achieved. |
The
character of men is hardworking. |
|
6. Gunung guntur segara asat |
Mountains
crumble, seas dry up. Even though it is prevented by
crumbling mountains and drying up seas, it will certainly be pursued. |
The character
of men is never giving up. |
|
7. Rawé-rawé rantas malang-malang putung |
Rawé-rawé
rantas malang-malang putung. All challenges and obstruction should
be overcome, not retreated against. This determination comes from being
dedicated to a noble cause. |
The
character of men is never giving up on reaching a goal |
|
8. Toyagamana girigamana |
Toyagamana
girigamana. Although the war on the water or the war on the
mountain, I would definitely serve and wouldn't be deterred. |
The
character of men is brave |
Source: Analysis of Research Results 2024
This table shows the gender concept of tembung éntar in the
type of masculine characteristics of men, which are dislike of trouble,
persistent, wise, assertive, hardworking, determined, and brave. The male
character who doesn't like to delay problems can be seen in tembung éntar
“Aja dawa-dawa ula.” The persistence of a man is seen in tembung
éntar “Alang-alangana tumbak cucukan segara gunung.” The wise
character of a man appeared in tembung éntar “Amprok maling, rikat
playuné.” Next, the hardworking character of a man appeared in tembung
éntar “Belok gigiré” and “Endas dadi sikil, sikil dadi endas”.
Furthermore, the trait of never giving up is seen in the tembung éntar “Gunung
guntur segara asat”/ “Rawé-rawé rantas malang-malang putung.” The brave
character can be seen in the tembung éntar “Toyagamana girigamana.”
In this context, the concept of gender in the feminine form can also be found
in tembung éntar as follows.
Table.2 Results of Analysis of Tembung éntar with Gender
Concepts in the Feminine
|
Tembung éntar |
Meaning of Tembung
éntar |
Analysis Result |
|
1.
Aja mangan barang geseng |
Don't eat
scorchy food. Processing matters must be careful, accurate, and
conscientious. If there is a computation, it must be done thoroughly. You
don't want to know that something is negative, but still continue with the
work, and become disastrous. |
A woman's
character is meticulous and ever-cautious. |
|
2.
Amin-amin tahlil |
Amin-amin
tahlil. Whatever the leaders said in front of us, we
followed. Participate in whatever the leader directed |
The
character of women is always obedient to the leader or husband. |
|
3.
Celak tapihé, landung lambéné |
Short on
cloth, longer on lips. A woman
that worked hard but also talkative. |
The female
character is diligent but also fussy. |
|
4.
Yen mangan ora entok koné jagoné mati |
If the
meal is not exhausted, the rooster will die.
Completing the work must be done. |
Women are
organized and tidy in the finishing of a job until it is completed. |
Source: Analysis of Research Results 2024
The table showed that feminine characteristics in women include being
conscientious, diligent, tidy, fussy or talkative, and obedient to their
husbands. The meticulous nature of women can be seen in tembung éntar “Aja mangan barang geseng.” The diligent and
fussy character of women can be seen in tembung
éntar “Celak tapihé, landung lambéné.” In this case, women must obey
their husbands, as in tembung éntar,
such as “Amin-amin tahlil.” The attitude of being diligent and tidy is
seen in tempting éntar, such as “Yen mangan ora into koné jagoné die.”
In relation to social interactions in society, we realize that women
and men mutually need each other. Although different, they can become one
through marriage to establish a better personality. This is also evident in the
analysis of tembung éntar as follows.
Table.3 Results of Analysis of Tembung éntar with the Concept
of Social Relationships between Male and Female
|
Tembung éntar |
Meaning of Tembung
éntar |
Analysis Result |
|
1.
Asah, Asih, Asuh |
Asah,
Asih, Asuh. Give each other knowledge. Give love to each
other. Together remind each other of the rightness. |
In a
marriage, husband and wife must support and be loving to each other. |
|
2.
Awét rajét |
Awét rajét. Husband
and wife have been married for a long time, always squabbling but still have
a long-lasting marriage. |
Husband and wife should always keep
their marriage going despite frequent arguments. |
|
3.Buntut
nurut endasé |
Tail
follows the head. Wherever the place is small employees
often follow their leaders. |
In a
marriage the wife always followed her husband |
|
4.Kambang
kampul uripé |
Floating
drowning. Someone who lives overseas, struggling through
the difficulties and joys. |
Husbands and wives who live overseas
must be able to handle the difficulties and pleasures together. |
|
5.Manusa
sederma nglakoni |
Humans are
just doing it. Humans can plan but God decides. |
In a
marriage, we should believe in God's destiny. |
|
6.Manek
gunung temurun jurang |
Climb the
mountain, descend the ravine. Life's journey must be done, even if
it is difficult and painful. |
The concept of married life, both
difficult and challenging, is being lived together. |
|
7.Sandang
sanding sandung |
Sandang
sanding sandung. The main physical and mental necessity of human
beings is to be sufficiently used, to have a faithful husband/wife and an
emotionally peaceful. |
The
concept of happiness life among the citizens of Cirebon |
Source: Analysis of Research Results 2024
On the table, we can recognize the concept of social relations between
males and females, such as in building a marriage. In this case, a male and a
female, or a husband and wife, are living a marriage based on the concept of tembung éntar. As a couple, they must
love each other, go through difficulties and pleasures together, maintain
continuity, and believe in the destiny that God has arranged so as to achieve a
harmonious life. The concept of loving each other is seen in tembung éntar, namely “Asah, Asih,
Asuh.” Marriage should always be maintained, as seen in the tembung éntar “Awét rajét.”
Difficulties and pleasures must be passed together, as in tembung éntar, “Kambang kampul uripé” and “Manek gunung
temurub jurang.” The husband as a leader is always followed by his wife, as
seen in the tembung éntar “Buntut nurut endasé.” According to the
Cirebon people, the concept of the happiest life appears in tembung éntar,
that is, “Sandang sanding sandung.”
Based on the analysis of tembung
éntar, it is concluded that the concept of gender includes that males and
females have personal characteristics. Although they are different, they can
unite through marriage. In conducting the household, males and females must be
capable of helping each other, loving each other, confronting joys and
difficulties together, etc. The concept is also reflected in the traditional “Slametan
Memitu” ceremony. This concept is also reflected in the traditional
ceremony “Slametan Memitu.” Slametan memitu is a traditional ceremony
conducted when the gestational age reaches seven months. Seven in the Cirebon
language is called pitu. The Memitu tradition is the same as the Javanese
community in general, to carry out traditional rituals or traditions passed
down from generation to generation by the ancestors
Kidung Murtasiyah
Kekidungan
cerita Dewi Murtasiyah
Lelakonan
kasmaran si dangdang gula
Kinanti
megatruh sinom parijaka
Sesenggakan
sendonan dalang mamaca
Waktu bobot
kebisan pitung wulanan
Siram
kembang campur kidung rerujakan
Jambe riwe
memecah blotong ning prapatan
Nandakaken
si dadap lagi slametan
Reff:
Bluluk
gading nggo anak-anakan
Ping pitu
dangdan adus-adusan
Sampe
nderegdeg digrujug esuk-esukan
Rena bunga
kluarga pada curakan
Biasane
tanggale pitu-pituan
Guyub rukun
sawengi pada melekan
Ngalap
berkah sawise amin-aminan
Sesajian
binagi pada bubaran
Meaning
The story of Dewi
Murtasiyah
The story is about
the love of sugar dangdang
Kinanti megatruh
parijaka
The sound of the
puppeteer's voice reading
When she
was seven months pregnant
Flower bath mixed
with songs and rujak-rujak
Jambe riwe breaks the barrel at the intersection
Signifying
that somebody was doing a slametan
Ref:
Coconut geding
for baby children
Seven times to make
up when taking a shower
Until shivering is
washed in the morning
Happy
family atmosphere at curakan (sawer)
It's usually a
seven-day date
Gathering without
sleeping all night
Looking for
blessings after amen-amen
Food is
distributed during dismissal (after the event)
Some of the materials that are required to be prepared for the
ceremony include: 1) seven pieces of long cloth or jarit; 2) miniature
houses that have been decorated; 3) pendil or a bowl containing water
with a mixture of various types of plants, such as beringin and sugar cane, as
well as coins that will be stored; 4) seven kinds of flowers, including
flower kingkong, red rose, white rose, cempaka, kenanga, kantil, and
jasmine; 5) offerings that include nasi uduk, juwadah pasar, rujak selasih,
various fruits and tubers, and sugar cane wulung (black sugar cane); and
6) bluluk gading or young coconut. Some pictures of the ingredients are
as follows.
|
|
Picture 1. Pendil/bowl for Memitu |
|
|
|
Picture 2. Coconut for Memitu |
Picture 3. Memitu Slametan Bathing Place |
|
|
In the ceremony 'Slametan Memitu', the husband and wife must
perform procedures as prospective parents of the baby. First, the event begins
with reading the book of Barjanji, which tells the story of the birth of the
Prophet Muhammad. Cirebon locals usually call it Marhabanan. Second, after
reading the Barjanji book, food is distributed, and the water brought out is
mixed into the container in the house. Third, the couple begins to be bathed,
accompanied by the recitation of sholawat 3 times. The people who are allowed
to bathe them are parents, relatives, and village elders. Fourth, the
recitation program is continued.
During bathing, the wife only wears a tapi (long cloth), and
the husband only wears shorts. Whenever someone washes the water or bathes the
wife, she must change the clothes seven times. At the time of the 7th washing
or bathing procession, the yellow coconut held should be dropped while the male
partner picks up or catches the coconut before it falls to the ground. After
that, the husband takes the pendil and immediately runs to the intersection or
fork in the road to break the pendil.
This is a form of expression of
the tembung éntar expression “Manek
gunung temurun jurang” in that the father/husband must be willing to
persevere and be persistent in life. As the father/husband runs, the children
and local residents run and prepare to fight for the distributed coins.
|
|
Picture 4. Children and
residents scrambling the contents of the pendil |
|
The items that should not be taken include banyan leaves, coconut
flowers, and yellow coconuts. Afterward, the male partner carries the yellow
coconut used during the bathing procession to the river to be thrown. In the
ceremony, the husband is also not allowed to bathe in the well but must be in
the river, and when heading to the river, it is recommended to run. In a
cultural context, the memitu tradition that takes place in Java is
different from the memitu or mitoni tradition that takes place in Sumatra.
Hasil Penelitian
CONCLUSION
This research highlights the concept of gender in Cirebon oral
literature, specifically through the lens of tembung éntar, and its transformation in the traditional ceremony
of Slametan Memitu. While previous studies have addressed gender roles in
various cultural contexts, this study offers a fresh perspective by focusing on
the unique gender expressions within Cirebon's oral traditions.
The findings reveal distinct characteristics attributed to male and
female figures in tembung éntar,
showcasing the interplay between cultural norms and gender identity. This
research identifies and analyzes these characteristics and emphasizes their
significance in understanding the broader implications of gender within Cirebon
culture.
Moreover, the study contributes to the field by illustrating how
traditional rituals serve as a medium for cultural expression and
transformation, enhancing the discourse on gender studies in Indonesian
literature. The novelty lies in this intersection of oral literature and gender
dynamics, which has not been thoroughly explored in existing literature. Future
research could expand on these findings by examining other cultural phenomena
within Indonesia, thus enriching our understanding of gender roles across
different contexts.
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2024 by the authors. Submitted for possible open access publication under the
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