Mappadendang Ceremony Of Bugis atau "Upacara Adat Mappadendang dari Bugis"

Mappadendang (Bugis Indigenous Harvest) South Sulawesi. Mappadendang or better known as the farm party to the Bugis tribe is a thanksgiving partyto the almightyfor the success planting rice.Mappadendang itself is a party that held in a large scale. the event of pounding grain on a mortar with a large stick as a pounder.

Theceremonyof mappadendang itself also has other magical values. It is also referred to ask the purification of grain which in a sense that is still tied to the trunk and connected to the soil to be ase (rice) whichlater will blend with the human. Therefore, purification is needed to make it more abundant.

This kind of ceremony is not just pounding. The storyline is that housewives near the house will be invited and then pounding. With a regular tone and tempo, the mothers sometimes sing a few songs that are still related to what they are doing. While their children play beside or under the house.

This traditional ceremony used to be carried out by communities in various regions, when they were finished they were then dried in the sun. this activity is very often done by the Bugis farmers. Also known as the new ManreAse which is continued after mappadendang.

Mappadendang is a thanksgiving ceremony for rice harvest and is a custom of the Bugis community since time immemorial. Usually carried out after the harvest is entering the dry season at night during the full moon. The traditional feast that is held in connection with the harvest or entering the dry season. Basically, mappadendang is the sound of pounding pestle to mortar that alternates when pounding rice. The main components in this event are 6 women, 3 men, the Baruga room, mortar, pestle, and traditional clothes, Bajubodo.

This party is a form of Bugis Makassar traditional art performance because it is a unique performance that produces regular rhythmic sounds or the tone of the players' shrewdness. The women who act in the booth are also called Pakkindona, while the men who dance and sow the tip of the mortar are called Pakkambona. Baruga's booth is made of bamboo, and has a fence made of woven bamboo called Walasoji.

he clothes worn at Mappadendang, when the Mappadendang event begins, dancers and performers will usually wear traditional clothing that has been determined:

• For women are required to wear stupid clothes

• Men wear head-wraps and dress in black, knee-length and then wrap a black patterned sarong

The tools used in Mappadendang are:

• The length of the mortar is approximately 1.5 meters and a maximum of 3 meters. 50 cm wide

• lesung resembles a small boat (jolloro; Makassar) but is rectangular in shape.

• Six rods that are usually made of hard wood or bamboo are as high as people and there are two types of pounders that are short, about half a meter long.

Mappadendang Procedures, Usually the main component in MAPPADENDANG consists of six women, 4 men, a baruga chamber, a mortar, pestle, and traditional clothing, bodo clothes. Mappadendang was originally an ordinary girl and youth. The women who act in the booth are also called pakkindona. Then the man who danced and sowed the tip of the lesung was called pakkambona. Baruga room is made of bamboo, and has a bamboo fence called walasoji.

Personnel in charge of playing the lensung pounding art or mappadendang are led by two people, each in the ulu or head lesung in order to adjust the rhythm and tempo of the rhythm using the short-sized pounder above, usually the rhythm regulator is those who experienced. While pounding on mortar bodies are women or men who are already proficient by using bamboo or wood that is the size of a person's body or pounder.

Along with the tone that is born from the expertise of the pounders, usually two men perform an expert dance. The contents of mortar are pounded with grains or glutinous rice in white / black (the bugu language is still young and usually if the harvest season is not found again, then the old rice is usually taken as a substitute, but before it is pounded the rice is boiled before for 5 to 10 minutes or soaked in boiling water for 30 minutes then roasted using a skillet made of clay without using oil using fire from wood burning.

Only after pounding it apart with its skin (dipesobahasa Makassar) did the woman slap it (in the language of Makassar) using a papier made of woven bamboo and rattan with a diameter like a hood under the moonlight and light from the sulo or Makassar lighting made of kerosene / bamboo torch.

If the impact of the mappadendang procession is really considered clean because it has been separated between rice and its skin, then other women prepare the coconut to be shredded and refined brown sugar then mixed into one together with crushed rice. then made one traditional confectionary or cake known as laulung.

Mappadendang's goal

• Express gratitude to God

• Establish friendships

• Entertainment

• Usually used as an arena for young people to find a partner

• Nurturing a sense of togetherness

Mappadendang and the story of modernization of agriculture, this tradition has been passed down through generations. Every harvest season arrives, everyone makes a kick. But, since there are no more pare riolo and kattobokko, the harvest ritual is rarely done. Riolo bitter melon is the name of an old variety of rice that grows with taller stems. Longer than the new varieties introduced by the government in the 1970s through agricultural intensification programs, such as PB-5 and PB-8 which have short trunks.

When the harvest season arrives the residents usually cut the end of the rice stem with ani-ani, which resembles a small cutting knife. Usually after being collected then the harvested rice is knocked down by pounding it in a mortar. The sound of collision between pounding wood, called pestle, and mortar is usually loud. Form a distinctive beat beat rhythmically. Movement and rhythmic collision sounds are the origins of mappadendang art. This tradition is hereditary. Until finally slowly began to be abandoned after the government rolled out an agricultural intensification program to boost national economic productivity.

Such a mappadendang ritual is actually not only known in the Kalabbirang area. In a number of places where the population depends on the results of farming businesses generally know the ritual of farming. Starting from going down to the fields, plowing, until the time comes for the harvest. There is a Mappalili ceremony before land piracy. There is Appatinro pare or appabenniase before the rice seedlings are sown.

This ritual is also common when storing rice seedlings at BollaPossi, a special place located in the center of the house which is intended to keep no animals passing on it. Then the ritual was coupled with a massureq, reading meow palokarallae, one of Lagaligo's epics about rice. And when the harvest arrives, a bokkokatto is held, the ritual of harvesting is usually accompanied by kelong pare. After going through a series of rituals, then Mapadendang was implemented.

In Makassar and around this ritual is known as appadekko, which means adengkaaselolo, a young rice pounding activity. Appadekko and Mappadendang are said to have originated from this activity. For the Pakalu community, the mappadendang ritual reminds us of the daily cosmology of rural farmers. "Rice is not only a source of life. He is also a human being. He sacrificed and transformed into rice. So that humans get something to eat, "said Ali, who seemed to want to revive the myth of Sangiyang Sri, or Dewi Sri in the Javanese countryside, which is believed to be a highly respected rice goddess.

Along with the modernization of the agricultural system and orientation to activities to increase "income" and national production. Eventually the rituals of farming were routinely held, gradually began to disappear. Because the ritual supporting farming system was increasingly abandoned. No more harvesting with ani. No more bokkokatto. Nor is kelong pare and mappadendang. At the same time there is no appreciation for the source of life. The practice of planting does not deal with the Sri Sangiyang award as believed so far. But about how agricultural products can catch up with the national production targets expected by agricultural extension workers.

As a form of joy and gratitude to the Almighty, for abundant harvests, people in Salomoni Hamlet, Lipukasi Village, TaneteRilau District, Barru Regency, South Sulawesi, held a Mappadendang traditional ritual. The mappadendang harvesting ritual is a Bugis custom for a long time, followed by all farmers.

This ritual is carried out together with pounding rice in a long mortar with holes six to twelve called Pallungeng, using mashed tools which the Bugis call alu. During the ritual, the rice hitters use traditional clothing called bodo clothes. "In the past, this ritual was practiced in almost all regions in South Sulawesi every major harvest season. But now, this tradition seems to be abandoned and only a few regions are still doing it. That is only a handful," said Muhammad Rais, one of the local farmers.

Besides the form of joy, the mappadendang ritual is also intended to maintain the ancestral cultural heritage which is feared to be increasingly abandoned by the younger generation. The sensitivity of Salomoni Hamlet residents in maintaining the culture of their ancestors is still very strong. The mappadendang ritual, usually done for three nights.

The main component of the ritual is the playing of six women, and three men, or in pairs, farmers face each other with each pestle in hand. Accompanied by a tambourine wasp, a bugapi extract and a Bugis tribal bamboo flute, farmers began to break down the rice seeds that had been laid into pallungeng, while occasionally hitting the mortar body following the tambourine rhythm.

By the Salomani community, mapadendang is also interpreted as mappaccappupammali, or reject the reinforcements so that when entering the planting season until the next harvest season, farmers still get abundant prosperity and yields. Barru Regent Andi Idris Syukur who participated in the ritual said, the participation of all communities and the government in preserving ancestral culture must be encouraged, to anticipate the disappearance of the value of the extinction of culture by western culture that came from outside.

Such a mappadendang ritual is actually not only known in the Kalabbirang area. In a number of places where the population depends on the results of farming businesses generally know the ritual of farming. Starting from going down to the fields, plowing, until the time comes for the harvest. There is an appraisal ceremony before land piracy. There is Appatinro pare or appabenniase before the rice seedlings are sown. This ritual is also commonly done when storing rice seeds in the balla position, a special place located in the center of the house which is intended to keep no animals passing on it.

Then the ritual was coupled with a massureq, reading meow palokarallae, one of Lagaligo's epics about rice. And when the harvest arrives, a bokkokatto is held, the ritual of harvesting is usually accompanied by kelong pare. After going through a series of rituals, then Mapadendang was implemented. In Makassar and around this ritual is known as appadekko, which means adengkaaselolo, a young rice pounding activity. Appadekko and Mappadendang are said to have originated from this activity.

Since that time the pare riolo commonly sown by these farmers began to be rarely planted. And replaced with "superior" rice fields. Like Shinta, Dara, Remaja rice, which is a product of crosses issued by the Bogor Center for Agriculture (LP-3). Or the new superior varieties such as IR-5 and IR-8 are known as PB-5 and PB-8 which are engineered by Rice Researce Institute (IRRI). The new technique in the form of tractor machines also replaces a land-processing system that relies on the power of cattle or buffalo.

Along with the modernization of the agricultural system and orientation to activities to increase "income" and national production. Eventually the rituals of farming were routinely held, gradually began to disappear. Because the ritual supporting farming system was increasingly abandoned. No more harvesting with ani.

No more bokkokatto. Nor is kelong pare and mappadendang. At the same time there is no appreciation for the source of life. The practice of planting does not deal with the Sri Sangiyang award as believed so far. But about how agricultural products can catch up with the national production targets expected by agricultural extension workers.

This story of agricultural modernization was also told by Mappadendang artists from Pakalu.

"Mapadendang is a tradition of pounding rice. It used to knock out the rice by pounding it. Now using a grinding machine. So mapadendang is increasingly rarely done, "Halima said.

In fact, Halima said, in that ritual the sense of togetherness of the farmers emerged. Even mappadendang becomes a meeting place for young people who want to find a life partner. In the ritual each pair begins to know each other their potential partners, paying attention to their attitudes and behavior. "Unlike now, the consideration is only about the economy," he said, shaking his head.

The influence of agricultural modernization on the cultural life of this community was also told by Ali. Long ago, this skillfulmappa man was so concerned since the inclusion of the New Order Agricultural Service development program. In Ali's view, as the incarnation of the beautiful Sri Sangiyang the rice grains also have the right to rest and receive service from humans, before they themselves serve our lives.