Speech Style in the lyric of Banyuwangi Folk Songs | Suyitno | Humaniora 1042 2011 2 PB

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ABSTRAK

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h g u daerah Banyuwangi mrupakan firoduk budaya etnik Using. h g u daerah tersebut m e r u p a k a f p ~ ~

ekspresi budaya masyarakat Using. Tuturan kagu daerah Banyuwangi menggunakan gaya tutur yang - 8
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beragam. Keberagaman ujaran tersebut menggambarkan keberagaman strategi tutur dalam budayuLC2 'komunikasi etnik Using. Wnggunoan beragam gaya tutur ini memiliki fLngsi untuk menjadikan keutuhan
dan kesatuan gagasan, menjelaskan dan menegaskan makna ujaran, dan mengembangkan kekbasattp'.:
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ujaran. Dolom bahasa Using, penggunaan beragam gaya tutur tersebut menggambarkan dinamka soda!:
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etnik Using dalam membangun kesantunan dalam bemtur.
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Kata Kunci: lagu daerah bnyuwangi, g a y tutur, etnik Using, budaya

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oftheseMlioUss&stytes~ectthesaciddynam~d
in their ~ p e e c h .

lbywods:

folksongs, utrerance style, Using ethnk, ccrdhKe

INTRODUCTION
~ r aproducts
l
3 community
., ,, .-pman (1978)

oresence of sonas

P m n t n n a n n n i fnlb nnnne arn N nI4m

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'ah:

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the function of expressionand sublimation, w
hb
socially, songs are related to belief, religion,
politics, education, and economics.According& Duranti (1997), songs serve as mediation
means of communication.
4
r

aformofspeechad. Inctiwryingoutthespmch
act, the speaker ia bound by the v a c b
~ m ~ o f s ~ ~ , t h a t I s ~ ~ g r o u n

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-betthe Using
m n t and they are
meant to fulfill the needs of their community. This
is consistent with Surnardjo (2005),who argues
that culture is aimed at fulfilling the needs of the
community itself (to achieve self-sufficiency) and
it is unique ineach community.
Astudyofthelyncsof Banyuwangif0Ucsmgs
is part of culturalstudies.Inthis case, he speech
expmsed inthe song lyrics is a cutturd resource,
white its performam is a culturat practice. This
is consistentwith Duranti(19971, who states that
a study of language as cubrat reSiDiSrce and
speech performance (tutur)as adturd practice.
This implies that the perfomam of songs is a
languageexpressionwhich is ladenwith cultml
message and also reflects the culture of We
speech m n i t y . blearwhile, the p e r f m a

ofsongsis$eenastheuseafla~lguageina
speech activity which is carried alt by the song
creator or performer in expressing cultural
messagesto the communityof listeners.

and held in high esteem by the carnmunity
(Hyrnes, 1974). The c b o i i ofspeed.1insongsis
adapted to the characteristics of the speech
w m p o ~ b on
s whkh it is b d .
I n a c x d a m w i t t r ~ ~ i ~ , t h i s
articlefocuses on the speech style in the lyrics of
Banjrwvangifdk songs. The speech style in the
~ofBanymmgi~s~lgis
three aspects, that 'k(a) tha
performance,(b)the t m i of
ion, w d (c) the
of idea
These three aspects are d
fobwing parts.

~~

THE FORMS OF SPEECH PERT%WWMCE
IN THE LYRICS OF BAlaCYUWB1FQtK
5
SONGS
:
The form of speech performanos in
Banyuwangi
folk songs canbdaMadink
Asane>qxessionand usedlangmge,smgs
"- :
express
and
reflect
the
thoughts,
W
i

n
g
s
,
and
forms: direct and indirect wp~sssions~or
'.
:: cultural experiences of the speech m n w . representations.According to Barthes (19?2), a
This means that songs serve as a means of direct expression is a performanw ,or
expressionfor the communityto hIP1M r SUCW represenWionon the denotative level, &an
'1 and cultural needs and the demand of its i @ d representationi s mfhe mndationled.
environment. Therefore, songs as a m m s of he d e m levelexpfains the rebkn &w
t &n
speech as signif'ier and its reference to reality
which creates an explicit, direct, and certain
meaning. The oond&tive level exphins the
retationbetwens i g n i d sigMedwherethe
.
a certain meaning, (2) it has a tmiqw &&ion m * n gis imp#dt, imw,and unaertain. fJle
with the expressed meaning, (3) it m&tmBs the two

mental content of its speakem, (4) iaapprs in
contextor~ofthessdo-cu~l
(5) it hasa certain pattern or rules, and (6)
W tsas which refers directly to the meam of
two opposite characteristics, that is p t q x s b that is wing q d .
1 (appearing as writing, voice, and detibate thing or an ~tjectbeing
movement)orincidental(appearing as u n i m fdk smgs,the d&edexgtrmskmIs cmf&md Cn
ed act, butstill meaningful).
old and mw eorrgs. In otd
From the paradigm of speech acts, the &cqmssior?is limited to the e
speech expressed in song lyrics can be seen as on activities, game, legends, and struggles. The
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rl,

sewo DeDarengan/Ambl

Iz~nar rnrlhr

rnn-crr

rouna ~n me yard/tlred c
hninn ;n frnnt nf t h e h-8

r e

his EQRQ

ya. In aumoe
behinc
knrlhnn

rncfhr

rnn/C,

hang paling QuotatOon011.
i#mn'ngalarndcw)Vry'
.../Serta tmjeg smng&nge, e
apu8-apusaflapi isun
roY, mangana kelemma'aajerdhemen riko t e ? m m m M . This song is spraise
. a n d ~ i o n o f b v e ~ i s e x p r e s s e d d i n e d l y , nyawang b6~ngweflenung tmmg.g.l
mengk---,
because it says "you are the m t perfect and
sing amp.
beautiful woman in the w o w and "I love you
~ 0 1 wa&n
9 ~

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(After t b sun is Aigh above thu, Miebk

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Another example of direct expression in the
is the following quotation from

Quafation 03

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is now, lODk at what was ~rm~tjyr"temf@tenon@azk g lying face dowI.JL& alone bk,
even take a look he wonr)

The connota-

meaning is present in-the

Bunr-bunr bajn rtko seneng/Rikojayjanjr' udp words W n M srengsrqps, m e d "the
~ sun
baremsun
dka~WHaYan@@YO- above our headsw.These W s am not meant
koY0 sing on0
ht'b'saikh3
d @ Y Yo wis to refer to the day at
w m
is high,
beddJmii-ianjine OmP@ngsukvd;s@ngen but fiqrefer to
pdme of
lne. in other

words, the expression refers to a pmon during
hisker heyday.
am so happy and in a hurrymu promise
The insight on the meaning of tunjeg
fO@h@r//W&S/oWd and treated WW vnge
can be obtainedby
Pm
bs As #the@ Mfl be no
.
W* @ding with the anted
ofthe next pa@ ~b
mnte& of

@ d&fwnWmmises ant brokerw'YOu used to be

g expresses the hatred of the

continuins secsonin

k o y ~kacang ninggal kullte (like a peanut
forgetting its outer shell), and the stabmnt ya
ojonyawang saiki nyawaw benw8, (donot
& the present:m d i h , rvm
what it

-bythe changes in hislher lover's atWude.At first,
to ba). thm
it
hat
slhe h e s himher wry mu&. but after a am,
as
me
mmwtw,
the love is gone because many promi- were had
swrcasses in we but fOTm
thobc who
have helpedhipnlher bstfwe.
it can be
Based the descri'Ons
The lyric of U k n Andhung-Andlrvng
said thatthe dimt e>gxesslonisthe m f o r new

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-songs. Old songs use dired expeskm mfyfor
-topicswhich are free fro

mings.TI*ueph~~~%emdm~qinth
mmst;srtesf
tmt%t4%l3mhm. The

to use indirect expression.
lndiiexpmssim inthe lyrics&
He and W w o r d ~ m r s ~ ~ t o a W a n d
-folk songs is performed by using m
troubled
we- S~whenfhef~ll is saubbe
- words or doubleentendre, that is a wordhaving
,a denotative meaning with additionat meaning pa*ang @%lM) or m e d u n 9 fdoudy), 2 ~+~CRB
from the association of the denotative meaning. not refer Zx, Iumh~Dtyof the moon b i d f lnrt to
The use of indirect expression can be observed d e a l a gdbd lie in cornpadson ~ i ith.Wd
h
in thefollowing lyrics of Tenong-tenonga.
life.

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.memkimword
pakon
wdqm

in this case in the smm that there is no other
~ s i n i t s ~ ~ t ~ ~ s a m e p w
Comparison usingtheword k o p (meaning"like,
similar to, asn) can be classified into three
categories, that is: the first is cmqmbon using
metaphor, the =nd
is comparison between
objectslthings, and the third is oompaFison by
$e
example. Comparison using h y o can
applied for amparison with idmW types or
figures.
One example of comparison using the ward
koyo is the song Tenmg-tenonga,where it says

the f3anyuwangi b l k smgs afso mtakn
metaptrors that am specific Ect the .Umg
p o s e .
metaphors rekited to cultural
rnetaptKxsMtom

m b illustrated by
*mZhgm-w

dandaw. This is a wWyw%cammbe-&aownmuPdqr
who are familiar witb thie we of dandmg or rioe
steamerlcooker
cultural object
/-tun?=-,
&alak&yoIcac=ang
steaming rice, w h i i themjw
ninggal kulW. The phrase koyo k
amkulite is a traditional metaphor. This song to ths position of the steam.As
compares an attitude with the nature of ground upright when it is being u& fw
nuts. It describes a person whq has been and when not US&, the sbmmr
p
h
m&iege
successfulinbusiiarid~rid7andthen skewed position. Themfore, the dandang in the line mmbuti
forgets his/herformerfriends.
The oomparisonusingkoyo agabtW i dan&ng refers to a pax csncWM
doesnathawer~ough1Sce'to~.
In Bqnyuwanglfolk songs,
am
in the sky. This is reflected in the p)wase koyo songs whose story is dew~!foped~~gj
widodan' ring kayangan (like angels in heaven). c a m p a ~ . T h e ~ p a r i s o n I s m a c t e ~
Angels (widodari, bidadari) is seen as idealized ~ ~ o f ~ & l t i o n , & ~ ~ , l l % i W
type in t e r n of beauty and attituffe. A person or function of the things corngerrW. This
who admires a beautifulgirl often campares her comparison is meant to give empha$is O P ~the
b
existence and signifitan@ d t
to angels.
cornpard.
The
example
of
songs
Direct mparison in E&myuvmngifolk sangs
mpmison is SejgurLmpung,as follows.
is performed
dimpa
be illustrated by the lyric of the
Kirm which says /ambi mesem ma
Mlahu &h@yat-dheycwt flgukluk wafuke/
ngem6anginegaW.Thii line inb b - m
& M m
ke
'@man/
has the same meaning as "menja@WAQa
Momotene sarat diseret sek kdegflaino
bangan (i.e. sacrificing one%
far-6~'s
bengr:paman nam putusel SepmkWLEkl d s
kadhung sun welasY..,
is
country). The meaning of
a personwho dies with good name or k sg$ven
(It walks uneven& cxt@i~lfjl W n # H funs
an important contribution for ~ ~ o o u n t rTfm
y.
out of hwath, sweat p v w i w o I&
pulled as much as it can/days and nights never
personwill acquire a good name, whidt is fikened
stopsithe old Win that I IQd..)
to a flower whose pleasant odor spreads far and
wide. This can be understood whoul having to
The
abovr,
the
understand the culture of the commtrnity in
and activity on an old l h t i v e by blsin(l
question.

(w*).OMW&~
h u m a n W i sthat isiitkr
coughing, bathingand sweating, The oman is
said to guard the grave and its waves can offer
prayem. Waterwith its triddingsound is depicted
as being able ta waken a sleeping man
In Banyuwangi folk songs, the relation
betweenobjects and attrihqbs p n beobserved
in the song Nunggang Sepur (AppendixW41),
that is the line ojo mangan bu@u& mmgano
genjah wangi (do not eat bulgur, eat pn@h
wangi).Gbnj*wngi~emtoakhxfofWplant
that is short-lived. By rncmthihg gonjah wi, presentation of speech
without has/ingbsay bert3s(riioe),psople,HKK~M hetemgwMy of scrcial-cu
understand that bems gayah wan@ b meant community. Thornhere.
Other attributes that are illustrative
of. this
+
form of style can be obset
Alit. In Uan Andh
sumslrs candm dewi alak mas. The phrase
candra dewi in the song refersto the mothi The
s o r r g ~ ~

tb&tom*

Mcrsesthe
Based on #beexamplesatme, it --be
condthat
are.- 8 e ~
with
manykindsQfnb~.The
Wndsodobjeds, fwrefers to a certain variety of rice pbnt, (tr)
synonyms, for instance mndra $swi is the
moQ'm d m*
(c
jebeng to oall a LCttle
(i.e. "smallbraakt")refersto rings,
The descriptions above.s h w 'that the
development of.q ~ ~ ~pre~+ntaficen
c ; h
in
Banyuwaqi folk songs-uses msn)~kind6 of

mw.
THE P A ~ R N OF
S THE SPEECH
DEVELOPNlENTIN THE LYR1CSOF
BahlYWVANGl.FOLK SONGS

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m u n Z t y . The vwiety

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explanationfrom LMqiohn(1992).- C

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usingthe same words is a process of musing lttet

same word(s) as the one(s) used before.
Repetition with synonym is a retelling the same
thhg or situation as before using different words
that havesimilar meaning.
Repetitionwith the same words in a song is
merant to give emphasis or focus to the words.
Such a repetition can occur within a line and
b h e n lines. The repetition between lines is
the use of a word from one line in another line.
The reptitition serves to integrate the topics in
om theme, or to emphasizethe meaning of the
lines. Meanwhile, the repetition within lines is a
repetition of word(s) within a line of song.
The song NunggangSepuris an illustration
ofthis repetition.

Kulo nungang sepur mudhun KalibaMmak
durung nempur anak nggantung untu/Kulo
nungang sepur mudhun nang Krikilan/Embok
magih pupur kakang hang s i s i l a ~ u l nungang
o
sepur mudhun nang Glemor/Bapak turu kasur
emak tunr ngisorL..

(Gmw up,

mw cIia

look at the &-hip
on the
up, scae the likht of fhi8.s

...)

-

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TG

Repetition using synonym canbe i l l u ~ t r a i ~
by the following quotation from songs Sepur
Lempungand Sembur Utik-Utik.
Quotation I 2

.../Sepur kluthuk masiyo berek IutreWEIekelek yara tinggalanejaman/. ..
(Steam train, though decrepwd's ugly but iZL
a heritage from the era/...)

Quotation 13
...fierebang ngungkung ditempal dikemplang
yara kan kementhand..,

(.../Tenbang sounds so loud, being hit, wng
(I get on the train and get off at Kalibanr/Mother
slapped, so deafening/...)
has not bought any rice and children can only
bite their fingerdl get on the train and get off
Explanation is a pattern in speech devekp
at Kriklan/Moher is wearing make-up and big ment which is applied by adding more words t
6
brother is whisUingL1 get on the train and get
explain
or
make
certain
the
meaning
of
the
speech.
off at Glemor/Father sleeps in the bed and.
The explanation can be classified into three, that
mother sleep on the floor ...)

is: (a) explanation usingwords €hatare permanent
part, (b) explanation usingwords from similar area
of meaning, and (c) explanation using additional
information.
In Banyuwangi folk songs, explanation cani
be found in several songs such as Njaring, S
em
Sewo Kucingand Dalu-dalu. Inthe song Njan'hg,
Quotation I 1
for instance,there is a line esuk-esuk sememp&
.../Dhe-gelisa gedhe, gedhe gelisa gedhe/ sagarane kundha. The phrase esuk-esuk
Kadhung wis gedhe tandanga gawe/Ngisor (moming) is emphasized by adding the word
tulihen ngisor tulihen ya sarane dala/ semempuf(veryearly), which refersto a cold eatly
Mendhuwur pandengen mendhuwur morningwhen nobody else is awake. Inthe song
pandengen sorote IintangLDawakena, dawakSewo-sew0 Kucing, there is a line Ambimunflk
dawakena, jangkah- jangkahira/Dhepanana
dhepan- dhepanan bumi nusantardMernburi cekikikan Ian sundhung-sundhung. The word
sawangen memburi sawangen ya jejege munyik (laughter) is being clarified with the word
cekikikan (giggles), which describes a s i t u M
dandang/.. .
that is not normal, awkward and proneto quad.

The repetition of the same words in a song
does not always occur at the beginning of the
lime since repetitioncan also occur within a single
line. This is illustrated by the following quotation
from Conge-Conge Ahng.

Then the phrase pejah gesang in the line/pe$ah
Ian gesang alak etnas kda tumut &&a/ refem
witan. The wor&a padhang (bright) and to the idea that true b e does not any age limit
kumenthang [very bright) describe a night time While the phrase susah senengin the line/wsah
that is very bright with clear skies.
seneng yet disanggah fiyang kaliNmeans that
Speech with detailed elaboration can be true love is always strong in good and bad times.
found in Banywangi folk songs, for instance in
The song ~ b a y aUtang
r
also uses opposing
the following quotationfrom Sewo-sew0 Kucing. words, that is unp (life) and mati (death), and
mina (day) and bengi(night). The word unj, and
mati
in the linehvaktu lahirira isun antamne udp
Quotation 14
../Kesd memengan podho gesah' ono ring Ian mats;,is meant to describe mother's pain
ngarepe umaNKumpulsakkanca memengan. during delivery, being in a state betweenlife and
sew0 behmngadAmbi munyik cekikikan Ian death. Then the phrase raim bengi in the line
raina bengi ngnrmat sira isun sop0 ngupahi
sudhung-sudhunganl.,
(.../T.imd of playing, they have a chat in front expresses the good care that a mother give to
of the houseJAll Mends are gathered, having her children. The use ofopposingpairs of words
in the songs is not meant to express apposition
fun together/giggling and pushing/...)
The kinds of speech that is elaborated by itself, but to describe the constant care and
attention from a motherwho sacrificss -for
giving emphasiswith hyperbolic expression can
her children.
be illustrated by the song Ya Ope, in the line sun
The explanation describedi;rt)cwrs also shows
welas nong rika alak emas ya setengah matV
that Banyuwangifolk songs uses many kinds of
pejah Ian gesang alak emas kula tumut ndika. In
this line, the narrator expresses a deep love as in presentation style, including repetition,
explanation, giving details, giving emphasis, and
welas sefengah mati (love intensely until one feel
opposition. The speech development pattans is
almost died). The narrator wishes to stay until
a
reflection of the mindset of Using community
the end with the lover. The statement in the song
and this is one of the manifestationsof the culture
is hyperbolic and makes it feel musty.
of this community. This is consistent with Wahab
The same hyperbole can also be found in
the song M b ~ 6 e sMili. The song tells of the (1998), who states that speech pattern is based
sorrow felt by a girl because her lover leaves her. on the logic that appears ineach culture and does
not universal application so that the speech
Shewas very sad and it is expressed in semendal
patterns will differ from one culture to another.
ngiris-iris5erebes mili katon rika raina bengi
(waking suddenly with slashing pain in the heart/
CONCLUSION
tears pouringbecause Isee you in my mind night
The foregoing discussion shows that there
and day). The phrase ngiris-ins hati (pain in the
are
a
lot of varieties in Banyuwangi folk songs.
heart like being cut) in the song is also a
The variety of speech style can be classified i'nto
hyperbole.
three
aspects, that is €hevarieties in (a) the form
The use of opposition is illustrated by the
song Ya Ope. The song uses opposing words, of speech presentation, (b) the techniques of
such as raina (day) and bengi (night), pejah speech presentation and (c) the patterns of idea
(death) and gesBng (life), and susah (somw)and development. Therefore, the varieties of speech
seneng (happiness). The opposing words are style in thefolk songs is a reflectionof the varieties
meant to give a description of the totality of time. in styles and culture of the life of the Using
The phrase raina bengi in the line /rains bengi community.
Songs can be discerned not only from its
paman isun katon rikalexpresses the meaning
that the girl remembers her lover all of the time. words as single units apart from context but as a

--s--.

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of words that are related one to
to mate meaning as cultwal
string of HK)TC1S are signifies.A
can have meaning because of the

tkrbedafkiQp.
H d m , Jan&. 2001.
London: Long-.
Hyrnes, Ddl. 1974. Founddon in &cioIkoguis~ &I
Ethnogrujd~icA$pm~~h.
Philadelphia:

~ ~ a f s ~ m ~ ~ a n a t h e p ~ o n
Fulew which makes it possible to mate meaning.
,Ninuk.1m.!ibpreor'Kaya (licdj
don Politik Multikultural: Sebuuh k n g m t m , ta
Antropdogi I*&
75,2004 E (Online), (htqx4

Barthe. Rdand. 1972. Myrhobgies. London: Paladin.
Bell, RT. 1976. W m i s t i c : G a l , Apprwches, and
Fwdel~ig.Lior?rdon: EZdwd.
Chapman, W. 19% A#~oach to Art Mumtion. New
Longman Group Limited.

Kbmunikasi Dengan Orang-Orang

www.jai.or.id/juma1/20Q4/75/02ktp-nnk75.~,
a c c d December 15,2005).
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C o m m u ~ o ~CaJifomia:
s.
WsINOCth Publiihtrrg;
Company.
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(Online), ( h t t p ~ J / ~ ~ ~ . p i k i r a n - ~ , c o P n i c W
2005J1 20511 7/02.
Thornborrow,Joenrra t
Linda Thonrar dm
W e $ and Pbwer. New York: Wedge.
Wahab, Abdul. 1998. Isu L'nguistik: fbgajar~nM a w
dan Sastra. S u m Airlangga UniverPity PITS&
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Sociolinguistics. Oxford: Basil Blackwell.