Marauleng: An Escape Mission to Mandar
Marauleng was a 7 years old girl living in Makassar along with her parents who were merchants. In 1660, the first battle of VOC and Makassar, her parents were arrested and killed by VOC because defending the kingdom and siding the Sultanate of Makassar. Marauleng was saved by her late father’s comrade. She lived in the coastal of Polewali Mandar along with Suku Laut, maritime tribe in Mandar. Because of her passion, in wading through the ocean, like his father, and her desire to make the world in peace, Marauleng joined Baraniyya. Baraniyya means ‘brave’ was a ship whose crew were the defenders of the homeland. Most of Baraniyya crew were from Suku Laut Mandar.
In 1667, VOC continued attacking Makassar. After giving persistant resistance, Makassar lost. The Sultan signed an embarrassing Bungaya Treaty. Consequently, Makassar was forced to pay compensation. Hence, VOC occupied most of Makassar’s territory. In 1669, Sombaopu was fallen! It was marked as the collapse of power of the Sultanate of Makassar. The family and followers of the Sultan fled to the hinterland. Others decide to go outside of Makassar. Mandar became a refuge for Makassar. Baraniyya was asked to help to rescue the survivors of the battle, including the family and followers of the Sultan. As the new first mate of Baraniyya ship, Marauleng was assigned her first mission to escape the survivors from VOC in Makassar to Mandar.
Marauleng refused to sail to Makassar because of her bitter past. Ambo Wallang, her captain said to her that she must face her weaknesses, overcome her fears, and walk through on her path. He also said to her that it is her fate to help her people since she had been joining Baraniyya. She must be brave. Encouraged by Kacho, a native boy from Suku Laut Mandar, who wanted to across the sea, Marauleng decided to go to Makassar. Within a few weeks, they have arrived in the waters of Makassar. They were disguised as a mariner who wants to trade with the VOC.
Secretly they met the family and followers of the Sultan in a small port in Makassar. Those survivors were looked sad and angry. Marauleng could feel their despair, anger, and hatred. In one day, people of Baraniyya and the survivors planned the escape route. They would leave Makassar in the mid night. Everything had been prepared. Unfortunately, their plan were smelled by the enemies because one of the survivor tried to directly attacked the soldiers of Bone. Palalo, one of the surviving descendants of Sultan, was the one who caused the chaos. He infiltrated the Arung Pallaka’s place to kill him, but was caught by the guards. Due to failure, Palalo ran and returned to the hiding place. He did not realize someone had followed him. He acted as nothing happened.
La Enre and Johannes ordered the soldiers to check the ships anchored at the port of Makassar. The hiding place was found and Baraniyya almost discovered by the enemies. Few people of Baraniyya and survivors led by Wallang fought with soldiers of Bone and VOC in order to distract the enemies. A battle ensued in the middle of night in the port. Wallang ordered Marauleng to start the voyage. Kacho guided people on the port to board onto the Baraniyya ship via footpath. They were ready to sail immediately. However, Wallang and the others were still fighting the enemies. In the last second, Wallang and four other men were back to the ship in a state of injury. The others had died. Then, Baraniyya embarked a voyage to Mandar.
Marauleng, captained the ship temporarily because Wallang was unconscious. She wanted Palalo to leave Baraniyya. Marauleng was angry to Palalo, because of him, their situation was at the end of the horn. Moreover, Wallang was injured and some people must died because of Palalo’s levity. Kacho calmed Marauleng down because the others saw them. The passenger (the family and follower of Sultan), sided with Palalo, the noble. Several hours of sailing, enemy ships seen from a distance were chasing them from back, and blocking them from the front. They were ambushed. Marauleng turn the ship left to the Masalembo.
To avoid the enemies, Marauleng, sail to different route to Mandar: Majene Water (Masalembo). It was known for its mystery. Mandar sailors called it Tanjung Ranggas or Sumarorong. In order to tame the unpredictable waves and whirlpools, the sailors usually Mappandre sorong or float trays containing glutinous rice and eggs. This as an offering or some sort of passing permission to the ruler of the sea. However, most of the passenger did not agree with that idea. They refused to give offerings to the sea, because it wasted the food, while the food stocks were limited. Indeed, they did not believe something called seafolk. Palalo became the provocateur in this issue. Marauleng did not want to captain the ship anymore, and locked herself in the cabin. Palalo captained the ship. Kacho fell silent.
The ship instantly swayed and shaken as it entered the Masalembo area. The water was turning into fishy and the waves were rising. Enemies’ ships were still following behind Baraniyya. At the moment, the passenger were frightened. Palalo knew nothing about what happen and what to do. He asked Kacho to captain the ship, but Kacho refused, he could not do that. Palalo realized that no one could do that except Marauleng. He wanted Marauleng to captained the ship, but his pride would not allow him. The other crew and passenger, one by one, asked Marauleng’s help. Palalo then realized and set aside his pride to apologize and begged Marauleng to save them. Kacho also persuaded Marauleng, that now she is the captain. People were waiting for her. But, Marauleng refused, until Wallang became conscious and said to her, it is her duty to save them and took responsible for Baraniyya.
Marauleng returned to captain the ship. Baraniyya started the ritual Mappandre sorong. In the thrilling night, everyone felt the dread. During the ritual, they prayed and hoped for life. The raging sea and the dark sky were troubled the enemy. Waves threw enemy ships. While, it brought the ship back to mainland. Baraniyya lasted.
- Marauleng (Hero)
Marauleng is the first mate of Baraniyya ship. She looks like a gallant man. She is from Makassar, born and lived her childhood in Makassar. Her parents has died since she was 7 years old due to the battle in 1660 when VOC attacked Makassar for the first time. She, then, tooked by her father’s comrade to Mandar and live along with Suku Laut, maritime tribe in Mandar. Her first days are tough Marauleng worked hard to gain the Suku Laut acknowledgment all the while chasing her dream to become the best seamen. In the following years, through many hardships and ordeals, she became a capable seamen. She is a sea artist, an expert at reading reading the ocean, able to tell shallows and hidden reefs from deep waters and able to determine if storms were coming.
- Palalo (Ally-Shapeshifter)
Palalo is one of the surviving descendants of Sultan. After the fall of Sumba Opu, Palalo made it his mission in life to avenge VOC and its allies. He is added to Baraniyya upon becoming a crew of the ship and starts developing his skill. Having different mission with Captain Wellang, Palalo defects from Baraniyya so that he can realize his aim for revenge. His years of seeking vengeance and his actions that followed become increasingly demanding, irrational, and it isolates himself from others, leading him to be branded as a criminal all over the Indië. He is a wanted pirate of Dutch East-Indies. After learning that revenge do not do good, Palalo decides to return to Baraniyya and dedicates his life to help protect the peoples.
- Ambo Wellang (Mentor)
Ambo Wellang or Captain Wellang is one of Mandar’s most talented seaman; regularly looked to for advice and leadership despite his personal dislike of responsibility. To his crews of Baraniyya, Wellang teaches the importance of struggling, sibalipari (principle of life to suffer equally), and the other skills to be a seamen.
- Kacho (Ally)
Kacho is a native boy from Suku Laut Mandar. Since child, he is following Kapten Wellang. As a child, Kacho was an easy-going and noisy boy. He usually looks very enthusiastic. He loves to jokes around and teases Marauleng. He is known for his kalindaqdaq (parables/pantun/verse). As an adult, he becomes an expert negotiator in winning the deals.
- La Enre (Shadow)
La Enre is a noble from Bone. He is a relative of Arung Palakka. He holds the maritime power in marine area of Sulawesi. He hates everyone who is not a Bugis people from Bone, moreover, he hates Makassar people. He was once an orphan after her family is killed in battle 1660. He, along with Arung Palakka, was taken as a hostage to the Sultanate Gowa – Makassar, serving as a servant. La Enre stood out as a sadistic genius.
- Johannes (Shadow-Trickster)
Johannes is a Duthcman. He has regional authority in Sulawesi. He is allied with La Enre. Although having higher authority than La Enre, his ignorance of language made him being used by La Enre. He is fool but sensitive. His unruly dialect makes him funny.
- Seafolk (Guardian)
Guardian in this story takes manifestation as the god of the sea. Suku Laut Mandar regularly do a tradition Mappandre sorong, give offerings to the sea ruler to ask protection for their families from disaster in the sea.
- The Fallen Sumba Opu (Herald)
12 June 1669, Sumbaopu June 12, 1669. Sombaopu falls, marked as the collapse of power of the Sultanate of Makassar. The family and followers of the Sultan fled to the hinterland. Others decide to go outside of Makassar.
The building blocks of experimental media of this project are:
- Physical Experiential – The entry point to stimulate the audience through Surround 4D Cinema. The story will take form in a movie. (Movie)
- Mental Experiential – Create interactive in the ‘surround’ experience. The platform of the story will be Augmented Reality. (AR)
- Social Experiential – Where experiences started to include audience’s relatives and friends engagement in the story. The type of sharing experience via Locative Team Game and Shared Events. (Game)
- Emotional Experiential – Where audience personally connect as much as deeper level through bespoke or elements of the story. Storytelling will take form in Rich Story ARG. Alternate reality game (ARG) is an interactive networked narrative that uses the real world as a platform and employs transmedia storytelling to deliver a story that may be altered by players’ ideas or actions.
- Spiritual Experiential – A sublime and transcendental final level where the experience start to change their believe. Audiences started to believe the artificially created around them and evolve – change their live and values. E.g. Personal Development where audience believe there is a sea folk in the sea, where they should respect the sea.
Baju Bodo, the Symbol of Age and Dignity for Women in Bugis Culture
|Project Title||Photography: Baju Bodo|
|Description||Baju Bodo, the Symbol of Age and Dignity for Women in Bugis Culture|
|Project Schedule||February – May, 2018|
|Photographer||Arsifa Deliyana A.|
|Number of Shot||4 photo shot session|
|Genre||Cultural Fashion Photography/ Photographic Portraits|
Project Schedule and Development Process
|Week 1||Brainstorm the idea||Mind map||Studio|
|Week 2||Define the concept||Story canvas||Studio|
|Week 3||Examine the project||Project proposal||Studio|
|Week 4||Research from tertiary source||Literature review||Studio|
|Week 5||Research from secondary source||Literature review||Studio|
|Week 6||Research from primary source||Interview Buginese||Outside|
|Week 7||Research from primary source||Interview Buginese||Outside|
|Week 8||Compile and pack the information||Formative presentation||Studio|
|Week 9||Photo session 1||Take photographs||Studio|
|Week 10||Photo session 2||Take photographs||Studio|
|Week 11||Photo session 3||Take photographs||Studio|
|Week 12||Photo session 4||Take photographs||Studio|
|Week 14||Re-touch||Edit photos||Studio|
|Week 15||Evaluate||Print the photos||Studio|
|Week 16||Final exam||Final presentation||Studio|
Project Budget Estimates and Cost Projection
|Item Description||Quantity||Unit Price||Extended Price|
|Baju Bodo (Set)||8||Rp150.000||Rp1.200.000|
|Misc. (Make Up)||1||Rp200.000||Rp200.000|
Costumes traditionnels des ethnies du Vietnam
Le photographe Réhahn documente depuis 5 ans les coutumes en péril des 54 ethnies du Vietnam.
About Babylon 21 Transcending Ethnicity
“This series of photographic portraits by Alisher Sharip represents the diversity of Hanoi, an amazing ethnic and cultural melting pot that is home to people from all around the world.”
|Project Name||Assistive Calculator|
|Description||Graphic user interface of innovative scientivic calculating apps|
|Designers||Arsifa D. Abidin, Hillandra|
|Date||March 19, 2018|
|Examine/Discover||Brainstorm the idea, create mind map|
|Validate/Define||Develop the concept, workflow, usability criteria, target audience, design elements needed, and do initial sketch|
|Ideate/Develop||Develop initial sketch, design the illustration digitally|
|Re-design||Design the graphic user interface of calculator|
|Evaluate||Do evaluation of the graphic design|
|Visual consistency||Same convention and rules for all elements of the graphic user interface, includes layout, typography, imagery, color, etc.|
|Visual organization||Visual elements are organized and categorized in grids|
|Navicational cues||Provided initial focus that direct attention to important, secondasy, and peripheral items as appropriate. It follows user’s conceptual model sequences.|
|Familiar idioms||Common language is used as the function’s title and instruction|
|Visual relationship||Related visual elements are associated and linked. Proxemic clusters, negative space, and alignment are apllied.|
|Legibility & readability||Characters/ font types, symbols, and graphical elements are easily read, noticable, and distinguishable.|
|Appropriate imagery||Flat design concept is used for all signs, icons, and symbols|
|The “innovative scientific calculating application” theme resulting in a complex design concept||Many works to do||Do research, reshape the concept|
|Design elements on graphic user interface are important||Choose the elements that suit the application system|
|10 usability heuristics for user interface design are essential but not a must||Adjust the usability heuristics with the user needs and the concept of the system|
|Consistancy of the design must be maintained||Use the same color palette, type font, shape, animation, etc.|
|Planned Finish Date||Actual Finish Date||Variance||On Schedule||Ahead of Schedule||Behind Schedule|
Traditional Music Instrument of Betawi
Augmented Reality (AR) Flashcards of Gambang Kromong
Betawi people or Betawis are an ethnic group in Jakarta, Indonesia. Betawis who has been living in Jakarta since a long time ago has unique customs and lifestyle. The majority of Betawis adhere to the Islam, except the Cina Benteng (Betawis and Chinese ancestry). In terms of art, Betawis have a traditional music called Gambang Kromong. Etymologically Gambang Kromong comes from the name of musical instruments used, which are Gambang and Kromong. An ensemble of Gambang Kromong consists of Gambang, Kromong, Sukong, Tehyan, Kongahyan, Basing / Flute, Ningnong, Jutao, Kecrek, Kempul, and Gong instruments.
Gambang Kromong music in Betawis is a combination of several cultures that hold each other interaction (acculturation). Gambang Kromong has been known since 1880 when Bek Teng Toe (a village chief at the time) presented the music as a welcoming reception for his guests. This musical ensemble developed well in Cina Benteng society. Cina Benteng society, whose material aspects were good, often hold a banquet where Gambang Kromong became the main music dish. The possession of Gambang Kromong in China Benteng gives a Chinese feel to the music. Moreover, the native Betawi people who were Gambang Kromong music players began to own and develop the music as Betawi music identity.
The development of technology such as Augmented Reality (AR) allows the integration of technology system and cultural heritage. The collaboration delivered interactivity during for the users. Thus, I want to make an augmented reality android-based application for learning Indonesian cultural heritage. The physical medium will be flashcards.
There are two main objectives of this project, which are:
- Elevate education system in terms of engagement, interactions, efficiency, and fun factor
- Provide immersive mixed reality experiences for users
- Publicize Indonesian cultural heritage, such as traditional music instrument
- Examine/Discover (audience and technology analysis for AR App
- Validate/Define (design for AR App)
- Ideate/Develop (develop for AR App)
- Re-design/Develop (2nd session feedback)
- Experiment/Deliver (evaluate for the app)
- Software (Vuforia, Unity, Android Studio, 3D Maya, Photoshop)
- User Interface (images, media layout, type font, contents, interactions, navigations)
Marauleng: An Escape Mission to Mandar
Primary audiences: Youths who love pirates story
- Gender: Female & Male
- Age: Teen (12-18 yrs) and young adult (18-21 yrs)
- Education level: Secondary education to college
- Language: Bahasa Indonesia
- Level of income: Middle class to upper middle class
- Literate and technology user
- Preferred media: gadget (smartphone, tablet, laptop, etc), social media (FB, IG, Twitter, etc)
- Live in the city
Secondary audiences: Universal audience who love adventure and fantasy story
This project has three key messages, which are:
- “The captain is you, because they (crew) follow you!” said Kacho. This is one of the key messages of Marauleng, an Escape Mission to Mandar story. It means captain is not a position, but an influence.
- “We are not pirates, we are just want to defend our land and protect our sea.” confessed them – Suku Laut Mandar.
- Good captain knows where to sail and when to dock.
Call to Action
Discover the world of pirates of Indonesia. Subscribe now!
Style & Tone
Marauleng, an Escape Mission to Mandar is written in narrative form. The story is narrated by a third-person narrator or third-person point of view. The third-person narrative style takes a more observatory approach to the actions occurring within the written piece. Protagonists are referred to as “he,” “she,” “it,” “they” and “them” and allows the reader to watch the events unfold.
The narrative is using simple language, sometimes using terms in the local language such as sibalipari’, jepa, and kalindaqdaq. These terms are coming from local language of Makassar, Bugis, and Mandar. The dialogue is written in unique style according to each character. Hence, the dialogues can reveal characters’ background, motivation, and personality.
The writer’s tone creates various atmosphere or mood for the story, starting from tranquility, empathetic, vacillation, anxiety, chaotic, desperation, grief, excitement, silly, and triumph. Along with the hero’s journey, the emotion of the story is continuously changing. Overall, the writer wants to create a tense and exciting mood on audience’s mind.
“Traces of Indonesian pirates were found!”
The campaign will take form in fictional documentary trailer about Orang Laut (Maritime People), Bajak Laut (Pirates), and Raja Laut (Sea King) of Sulawesi, Indonesia. The trailer will be distributed via online media such as youtube, instagram, facebook, etc. until it becomes viral.
This transmedia storytelling project is expected to give long term impact to the audience, which are:
- The understanding of the concept of Orang Laut (Maritime People), Bajak Laut (Pirates), and Raja Laut (Sea King) of Sulawesi, Indonesia
The project’s objectives covered:
- Providing entertainment to the audience
- Creating story world of fictional pirates in Indonesia
Baju Bodo, the Symbol of Age and Dignity for Women in Bugis Culture
Baju Bodo is a traditional women’s clothes from Bugis Makassar, Sulawesi, and Bugis Pagatan, Borneo, Indonesia. Baju bodo is also recognized as one of the oldest clothing in the world. Baju bodo comes from the words of Waju and Takku. Waju means clothes and takku itself is the expression to declare the social strata of nobility. This is in the words of Maddara Takku, which indicates a person who has a blood of noble descent. Literally, tokko clothes can be interpreted as clothes for the nobility.
Women in Bugis people, Sulawesi, have worn baju bodo or waju tokko since 9th century. But not after 1930s, a lot of women wore it “naked”. As we know, baju bodo were made of muslin fabric of woven cotton, which are tenuous and thin. Anyone could see directly what was behind the clothe. AT the time, Bugis women did not wear any kemben (breast cloth) nor brassiere underneath.
Since Islam was officially accepted as the kindom’s religion in the 17th century, women had to cover their breasts with a kemben, or at least a bra, behind baju bodo. The rule was stricter since the DII/TII, a political organization of fundamental Islamist, started to dominate Sulawesi. They demanded that every dress worn, specially by women, should not show the inner skin color, the curve of the body, and particularly the breast.
The Kingdom of Gowa addressed the cultural clash between Islamic and traditional society wisely. They then tried to popularize baju la’bu, which is like baju bodo, just thicker, longer, and loose fitting. The conventional baju bodo and baju la’bu survive to these days. In addition to mandatory dress for traditional events such as wedding ceremonies, baju bodo are also worn for the dancing contests and the welcoming parties to someone VIP today.
However, there are some patterns that must be obeyed no matter how modern is now. For instance, baju bodo are always rectangular form, and usually short-sleeved. For in Makassar native language, “bodo” means “short”. There is a rule of baju bodo’s color utilization too.
Baju bodo rectangular, usually short-sleeved, which is the upper half of the elbow of the arm. In the past, Baju Bodo can be worn without a breast cover. This has already paid attention to James Brooke (who was later appointed Brunei Sultan to become king of Sarawak) in 1840 when he visited the palace of Bone. Bugis women wear simple clothes. A sarong covers the waist to legs and a thin loose shirt of muslin (gauze), showing the breasts and the curves of the chest. The way to wear this Baju Bodo is still valid until 1930’s. As the entry of Islamic teachings, Baju Bodo is modified and adjusted to the Sharia.
Below is the description of Baju Bodo from Bugis People
- Headdresses are: bun and puncture bun, the hair bun is slightly below decorated with flower buds. Wearing a semicircular bando.
- Jewelry from gold pieces that are printed such as: Long earring (bangkarak), chain necklace (geno ma’bule), bracelet width about 13 cm, armband bracelet (sima taiya), and pin (pattoddo).
- Baju Bodo in thin fabric made from pineapple fibre. Bodo’s color and length of clothes are worn according to the social status of the wearer.
- Wide silk sarong (lipa’ sabbe)
According to Bugis custom, every color of Baju Bodo clothes worn by Bugis women shows the age or dignity of the wearer.
- Maridi (ivory’s yellow) worn by under 10-year-old girls. This color represents their joyful world. This baju bodo with ivory’s yellow is also called waju pella-pella (butterfly). This color is symbolized as a joyful world of children, and it is expected that children will grow up and be able to face life’s challenges.
- Bakko (orange/pink) worn by girl aged 10-14 years. Orange (bakko) is a representation of the world “bakkaa”. Which means “half mature”.
- Women at the age of 14-17 wear baju bodo in orange or pink. But, because of her breast’s growth, they wear it in double layers.
- Red-blood baju bodo with layers worn by women aged 17-25 years. The red color symbolizes the blood they sprout after the marriage. Dark red worn by women in this age who already have children.
- Black worn by women aged 25-40 years.
- White worn by the servants of the king, shamans, and The byssus are believed having the white blood by incarnation. It is what makes them able to be a liaison between Langi Botting (realm of sky), Peretiwi (world of human), and Ale Kawa (world of spirit).
- Kudara (green) worn by the noble women, daughters of the king or maddara takku (the descendants).
- Kemummu (purple) worn by the widows.
Modern Baju Bodo
Currently Baju bodo has undergone many modifications, and the color restrictions in wearing baju bodo also seems not as tight as before. Baju bodo are usually paired with silk sarongs with elegant motifs known as lipa’ sabbe, but nowadays many are combined with fabric with other materials. Modern colorful baju bodo are usually worn at traditional events or wedding parties, while dancing or receiving honorary guests. Baju bodo is also often worn by the bride, bridal mother, accompanist (Passappi) and a row of receivers (Pagar ayu) in a marriage ceremony.
Hariana. (2010). Tinjauan Pakaian Adat Sulawesi Selatan; Studi Komparatif Baju Bodo Suku Bugi-Makassar-Mandar). Buletin Sibermas Vol.4 No. 4 Desember 2010.
Bahfiarti. T. (2013). Konsep Warna ‘Baju Bodo’ dalam Perkawinan Adat Bugis: Studi Komunikasi Nonverbal). Jurna Ilmu Komunikasi Vol. 3, No. 1, April 2013.
Suciati. (2008). Analisa Morfologi Baju Bodo Sebagai Busana Daerah Sulawesi Selatan. Prodi Pendidikan Tata Busana JPKK FPTK UPI.
Fun Programming 31 – 40