Lily Royor, Maengket, and Mah’zani Dance Song Lyrics in Minahasa

DOI

10.2991/assehr.k.211226.052How to use a DOI?

Keywords

Dance; Lily Royor; Maengket; Mah’zani; lyrics; clitic

Abstract

Lily Royor, Maengket, and Mah’zani dances are the original Minahasa culture. Therefore, the purpose of this paper is to review the lyrics of the dances of Lily Royor, Maengket, and Mah’zani. Two problems were discussed: 1) What are the linguistic form of the Lily Royor, Maengket, and Mahzani dance lyrics, 2) what is the meaning of the Lily Royor, Maengket, and Mah’zani dance lyrics. This research was conducted to maintain language and culture. The research method used is a qualitative descriptive method [1] with an ethnographic approach. Linguistic Anthropology that connects language and culture by Foley [2], Sibarani [3], and Van Dijk [4],), and Eriyanto [5]. The data collection technique followed Sudaryanto [6] to record and tap language data. The Basic Theory of Linguistics, namely, Morphology, Syntax and Semantics, is used to analyze the version of the lyrics of the Lili Royor song that accompanies the Lili Royor dance and the meaning contained in the lyrics of the Lili Rroyor song. Morphological theory, explains the smallest meaningful language units from the theories of Nida [7], Wouw [8], and Verhaar [10]. Meanwhile, the Semantic theory with semantic analysis from Lyon (1976) and cultural meaning uses the theory from Spradley [11], and Christomy [12] theory to answer the cultural meaning. The result of the research is that the theme of the song lyrics is similar to the lyrics of the song Maengket or Mah’zani, namely the theme of prayer, youth romance, love, joy, and harvest according to the standard of the reality of life experienced by humans or people who live in the Minahasa region. The theme of the Lily Royor dance which is different from other dances in Minahasa is the theme of “loving the youngest sister” in the sense that “the youngest brother is also prioritized as the eldest child in a single-family”. That theme never existed in Maengket and Mah’zani. Furthermore, the lingual form is different from the lingual form used in other dances in Minahasa. For example, the appearance of [i-] attached to the root word of the verb, namely ilampang ‘walks’, ipayos ‘swaying’, Ilεoŋ ‘play’. I catfish the lingual form [i-] is clitic because the attachment of [i-] to the root word of the verb produces the meaning “lah”. A vowel /i/ occurs alongside the root verb and is not a bound morpheme. On the other hand, the use of /i/ in the word in Maengket dance means possessiveness, namely ownership or belonging to someone, for example, Iya’i ‘owner of this land Opo’ and iti’i ‘respectively’. While the use of i- in the Mah’zani dance is a disciplined value in various aspects of people’s lives as a guide and orientation for the life of the Tombulu people today. Lily Royor’s lingual form consists of morphemes and words that have undergone affix processes such as prefixes, confixes, infixes and suffixes as well as reduplications and imperative forms in the accompanying song for the Lili Royor dance.

Copyright

© 2021 The Authors. Published by Atlantis Press SARL.

Open Access

This is an open access article under the CC BY-NC license.

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TY  - CONF
AU  - Victorien Katuuk
AU  - Rina P. Pamantung
PY  - 2021
DA  - 2021/12/27
TI  - Lily Royor, Maengket, and Mah’zani Dance Song Lyrics in Minahasa
BT  - Proceedings of the International Congress of Indonesian Linguistics Society (KIMLI 2021)
PB  - Atlantis Press
SP  - 262
EP  - 265
SN  - 2352-5398
UR  - https://doi.org/10.2991/assehr.k.211226.052
DO  - 10.2991/assehr.k.211226.052
ID  - Katuuk2021
ER  -