The Poleng Motifs in Balinese Women’s Clothing

Yıl 2023, Cilt: 29 Sayı: 115, 913 - 932, 31.07.2023

Arya Pageh Wibawa Imam Santosa Setiawan Sabana Achmad Haldani Destiarmand

https://doi.org/10.22559/folklor.2431

Öz

This article aims to find the meaning of the representation of the poleng motif
in Balinese women’s clothing. The issues are as follows: 1) How is the poleng
motif represented on Balinese women’s clothing? and 2) Does the poleng motif
in Balinese women’s clothing have a symbolic communication meaning?. In
traditional Balinese culture, the poleng motif in Balinese women’s clothing has
a bad meaning. Most Balinese women note that Poleng patterned clothing is used
in a cultural context, not because it has a bad meaning. Qualitative methods were
heavily relied upon in writing this article, starting with collecting primary data
from informants such as pecalang and community leaders. Secondary data sources
were obtained from ancient Balinese literature and research journals through
library research. Data analysis uses symbol theory and reception theory, which are
operationalized qualitatively and interpreted. Results from the study show that: 1)
The way the poleng motif on Balinese women’s clothing representation is sacred,
sets forth a task identity, and is the identity of Balinese fashion identity; and 2) The
poleng motif on Balinese women’s clothing always has a symbolic communicative
meaning in traditional ceremonial activities. Balinese women who use the poleng
motif prioritizes the representation of fashion identity rather than profession or
kawisesan in symbolic communication in a cultural context.

Anahtar Kelimeler

meaning, representation, poleng motif, Balinese women's clothing

Destekleyen Kurum

-

Bali Kadın Giyiminde Poleng Motifleri

Öz

Bu makale Balili kadın giyiminde poleng motifinin temsilinin anlamını bulmayı
amaçlamaktadır. Konular şu şekildedir: 1) Poleng motifi Bali kadın giyiminde
nasıl temsil edilmektedir?; 2) Bali kadın giyimindeki poleng motifinin sembolik
bir iletişim anlamı var mı?. Geleneksel Bali kültüründe Bali kadın kıyafetlerindeki
poleng motifinin kötü bir anlamı vardır. Balili kadınların çoğu, Poleng desenli
giysilerin kötü bir anlamı olduğu için değil, kültürel bir bağlamda kullanıldığını
ifade ediyor. Pecalang ve topluluk liderleri gibi kaynak kişilerden birincil verilerin
toplanmasıyla başlayarak, bu makalenin yazılmasında büyük ölçüde niteliksel
yöntemlere güvenildi. İkincil veri kaynakları, eski Bali literatüründen ve araştırma
dergilerinden kütüphane araştırması yoluyla elde edildi. Veri analizi, niteliksel
olarak işlevselleştirilmiş ve yorumlanmış sembol teorisini ve alımlama teorisini
kullanır. Çalışmanın sonuçları şunları göstermektedir : 1) Poleng motifinin Bali
kadın giyimindeki temsil biçimi kutsaldır, görev kimliği ve Bali moda kimliğidir;
ve 2) Balili kadın kıyafetlerindeki poleng motifi, geleneksel törensel etkinliklerde
her zaman sembolik iletişim anlamı taşır. Poleng motifini kullanan Balili kadınların
kültürel bağlamda simgesel iletişimde meslek ya da kawisesan’dan çok moda
kimliğinin temsilini ön plana çıkarmasıdır.

Anahtar Kelimeler

anlam, temsil, poleng motifi, Bali kadın giyimi

Kaynakça

• Ardhana, I. K., Setiawan, I. K., Sulandjari, and Raka, A. G. (2015). Calonarang dalam kebudayaan bali. Denpasar : Cakra Press.
• Ari Dewanti, P. P. W., and Kameswari, I. G. A. A. W. (2019). Konsep rwa bhineda pada kain poleng busana pemangku pengluran saat upacara pengerebongan di pura agung petilan, kesiman. Jurnal Da Moda, 1(1), 16-20. https://doi.org/10.35886/damoda.v1i1.52.
• Arniati, I. A. K., Atmaja, G. M. W., and Pradana, G. Y. K. (2020). Moral and religious values in the geguritan dharma prawerti song in bali. International Journal of Innovation, Creativity and Change, 12(1), 432-446.
• Atmaja, G. M. W., Arniati, I. A. K., and Pradana, G. Y. K. (2019). Implications of enacment of law number 6 of 2014 on the position of villages in bali, Indonesia. Asia Life Sciences, 28(2), 295-310.
• Atmaja, G. M. W., Arniati, I. A. K., and Pradana, G.Y.K. (2020). Bhineka tunggal ika as a source politics & identity of indonesian culture in the formation of law. Cultura. International Journal of Philosophy of Culture & Axiology, 17(2), 57-72.
• Baldwin, T. (2019). Roland barthes : The proust variations. Liverpool : Liverpool University Press.
• Berg, B. L., and Lune, H. (2018). Qualitative research methods for the social sciences. Boston : Pearson.
• Creswell, J. W., and Creswell, J.D. (2018). Research design : Qualitative, quantitative and mix methods approaches. California : Sage Publications.
• Darmayoga, I. K. (2021). Perempuan dan budaya patriarki dalam tradisi, keagamaan di bali (studi kasus posisi superordinat dan subordinat laki-laki dan perempuan). Danapati: Jurnal Ilmu Komunikasi, 1(2), 139-152.
• Dewanti, P. P., and Kameswari, I. G. (2019). Konsep rwa bhineda pada kain poleng busana pemangku pengluran saat upacara pengerebongan di pura agung petilan, kesiman. Jurnal Da Moda, 1(1), 16-20.
• Dharmika, I. B., and Pradana, G. Y. K. (2021). The meaning of rebo buntung for pringgabaya villager, east lombok during the covid-19 pandemic. Qualitative Report, 26(9), 2911-2923. DOI : https://doi.org/10.46743/2160-3715/2021.4769.
• Dharmika, I. B., Pradana, G.Y.K., and Ruastiti, N.M. (2022). Sustainable forest management as a form of community resistance in bali. Procedia Environmental Science, Engineering and Management, 9(1), 283-296.
• Ferindra, Y. (2020). Redesign pakaian second hand berwarna putih menggunakan teknik patchwork yang terinspirasi dari kain poleng. Jurnal Desain dan Seni : Narada, 7(2), 215- 228.
• Gunawan, D. H. (2014). Perubahan sosial di pedesaan bali: dualitas, kebangkitan adat, dan demokrasi lokal. Serpong, Tangerang Selatan : CV. Marjin Kiri & Tali Jagad Bali.
• Hariyanto, D. (2021). Buku ajar pengantar ilmu komunikasi. Sidoarjo, Jawa Timur : Umsida Press.
• Hasan, R. P. (2015). Analisa visual motif poleng pada dodotan bima wanda lindu panon jogjakarta. Visual Art and Design Journal, 3(1), 1-6.
• Jaeni. (2012). Komunikasi estetik : Menggagas kajian seni dari peristiwa komunikasi pertunjukan. Bogor : IPB Press.
• Kumar, Ranjit. (2019). Research methodology : A step-by-step guide for beginners. London : Thousand Oak.
• Mastiningsih, P. (2020). Overcoming elderly anxiety through kidung wargasari. Universal Journal of Public Health, 8(3), 99-103.
• Mekarini, N. W. (2021). Bahasa warna dalam konteks budaya bali. Litera: Jurnal Litera Bahasa dan Sastra, 7(1), 43-51.
• Neuman, W. L. (2014). Social research methods : Qualitative and quantitative approaches. Essex, Harlow : Pearson.
• Peursen, C.A.Van. (1973). Strategie van de cultuur : Een beeld van de veranderingen in de hedendaagse denk-en leefwereld. Armsterdam : Elsevier.
• Purba, B., Banjarnahor, A. R., Kurniullah, A. Z., Handiman, U. T., Setiawan, Y. B., Hastuti, P., & Jamaludin. (2021). Pengantar ilmu komunikasi. Medan : Yayasan Kita Menulis.
• Pradana, G. Y. K. (2021). Corona in Pupuh Ginada Dasar : A Cultural Response to Crisis Situations Due To Corona Virus Pandemic. The 5th International Conference on Climate Change : Climate Actions Toward Sustainable Development Goals (MDGs), IOP Conference Series : Earth and Environmental Science. Vol. 724 (Komariah Ed.) Surakarta : IOP Science.
• Rahmawati, N. N. (2016). Perempuan bali dalam pergulatan gender. Jurnal Studi Kultural, 1 (1), 58-64.
• Rai S., I W., Sadguna, I M. I., Sadguna, I G. A. J., & Pradana, G. Y. K. (2019). Tifa from the land of papua : text and context. Asia Life Sciences, 28(2), 335-354.
• Rokhani, U., and Haryanto. (2020). Rancangan garap karya gending sekar jagad berbasis motif batik gaya yogyakarta. Resital : Jurnal Seni Pertunjukan, 21(3), 163-172.
• Ruastiti, N. M., and Pradana, G. Y. K. (2020). The ideology behind sesandaran dance show in bali. Journal of Sociology and Social Anthropology, 11(2), 78-85.
• Sonhaji, N. A. A., and J. (2017). Auditor ethics in kain poleng and mulat sarira treading identity between black and white. Russian Journal of Agriculture and Socio-Economic, 6(66), 239- 249.
• Sudarta, W. (2006). Pola pengambilan keputusan suami-istri rumah tangga petani pada berbagai bidang kehidupan. Kembang Rampai Perempuan Bali (Arjani Ed.). Denpasar : CV. Karya Sastra.
• Sudaryat, Y. (2008). Makna dalam wacana. Bandung: Yrama Widya.
• Sumiarni, E. (2004). Jender dan feminisme. Yogyakarta: Wonderful Publishing Company. Suriati, S., S., & Rusnali, A. N. (2022). Pengantar ilmu komunikasi. Tulungagung, Jawa Timur : Akademia Pustaka.
• Swandi, I W., Wibawa, A. P., Pradana, G. Y. K., & Suarka, I N. (2020). The digital comic tantri kamandaka : A discovery for national character education. International Journal of Innovation, Creativity and Change, 13(3), 718-732.
• Wahyuni, N. W. E., Dwija, I W., and Regeg, I M. (2021). Dinamika penggunaan busana adat ke pura di desa peladung kelurahan padangkerta kabupaten karangasem. Lampuhyang, 12(1), 36-48.
• Wiasti, N. M. (2006). Hubungan industrial yang berwawasan gender : Studi kasus pada industri kerajinan bambu di desa belega, kabupaten gianyar, bali. Kembang Rampai: Perempuan Bali (Arjani Ed.). Denpasar : CV. Karya Sastra.
• Wirawan, K. I. (2019). Calonarang : Ajaran tersembunyi di balik tarian mistis. Denpasar : Bali Wisdom.
• Wisnawa, D. K. (2021). Tari baris keraras: Ikon cinta lingkungan dari mengwi. Badung: Nilacakra.
• Yasmini, W. Y. (2022). Dinamika penggunaan busana adat ke pura di karangasem. Jurnal Lampuhyang, 13(2), 168-181.