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"Disertasi ini mengkaji guritan sebagai tradisi lisan, penciptaan, pewarisan, konteks, dan fungsinya bagi masyarakat Besemah, Sumatera Selatan. Guritan adalah prosa lirik yang dituturkan dengan irama khas dalam bahasa Besemah. Bentuk, irama, dan bahasa guritan dari dahulu sampai sekarang tidak mengalami perubahan yang signifikan, tetapi isinya berubah dari masa ke masa sesuai dengan perkembangan khalayaknya.Penciptaan guritan dilakukan sekaligus dengan penuturannya. Guritan diciptakan atas beberapa bait, beberapa larik, dan beberapa kata yang tidak tetap jumlahnya. Struktur pertunjukan guritan terdiri atas: bagian pendahuluan, bagian isi, dan bagian penutup. Penggurit menciptakan guritan tidak dengan menghafal, tetapi memanfaatkan persediaan formula di dalam ingatannya. Formula yang digunakannya berupa formula dalam dan formula luar. Pewarisan guritan dilakukan secara otodidak antara penggurit terdahulu dengan penggurit kemudian me- lalui proses mendengarkan penuturan, melakukan penuturan, dan mendialogkan hasil penuturan antargenerasi penggurit.Adanya satu kesatuan konteks yang saling mempengaruhi antara penggurit, penonton, penyelenggara pertunjukan, kesempatan pertunjukan, waktu dan tempat pertunjukan, imbalan jasa pertunjukan, dan inovasi pertunjukan menjadikan guritan dapat tetap bertahan hidup di dalam masyarakat Besemah. Guritan yang dikhawatirkan akan mati bahkan punah itu, ternyata masih berfungsi di dalam kehidupan masyarakat Besemah dari masa ke masa sesuai dengan tuntutan perubahan masyarakatnya. Fungsi-fungsi itu berguna bagi pembentukan karakter masyarakat Besemah khususnya dan bagi pembentukan karakter bangsa Indonesia pada umumnya.

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This dissertation examines guritan as oral tradition in terms of its composition, transmission, context, and function for Besemah society, South Sumatra. Guritan is prose lyrics spoken with a distinctive rhythm in Besemah language. The form, rhythm, and language of guritan do not change significantly from the past until now but the contents change from time to time in accordance with the development of its audiences.The composition of guritan is made in its performance. Guritan created in stanzas and lines, and some words with no fixed amount. The structure of guritan show consists of the introduction, content, and conclusion. Penggurit creates guritan not by memorizing but utilizing the formula supplies in his memory. The formulas used are in the form of internal formula and external formulas.

The transmission of guritan takes places through self learning through the process of listening to the narrative, doing the narrative, and making the result into a dialog between the generations of penggurit.The unity of context of the interplay between penggurit, spectators, organizers of the show, the show opportunity, time and venue, performances service fee, and innovation makes guritan show survive in Besemah society. Guritan still functions in public life of Besemah from time to time in accordance with the changing demands of society though it is feared to be dead and even extinct. The functions are useful for character development of Besemah community in particular and for the formation of the character of the Indonesian people in general."

"Disertasi ini mengkaji Senjang sebagai Tradisi Lisan Musi Banyuasin Sumatra Selatan. Penelitian ini adalah penelitian kualitatif dengan pendekatan etnografi. Hasil penelitian menunjukkan tradisi lisan Senjang sebagai salah satu bentuk media seni budaya yang menghubungkan antara orangtua dengan generasi muda atau dapat juga antara masyarakat dengan pemerintah di dalam penyampaian aspirasi yang berupa nasihat, kritik maupun penyampaian strategi ungkapan rasa gembira. Sejumlah upaya telah dilakukan untuk memelihara, memanfaatkan dan mengembangkan tradisi Senjang melalui, sekolah, sanggar dan festival seni tradisi. Senjang yang hadir saat acara-acara adat seperti perkawinan, syukuran, dan lainnya merupakan identitas budaya Musi Banyuasin.

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This dissertation examines Senjang as the Oral Tradition Musi Banyuasin South Sumatra. This study used qualitative research with the ethnographic approach. The results showed that the oral tradition of Senjang is as media forms of cultural arts that connect parents with young generation or it can be also between the society and government in delivering the aspiration such as the advice, criticism or even the delivery strategy of happiness feeling. Some attempts have been made to preserve, utilize and develop Senjang tradition through schools, galleries and arts tradition festival. Senjang is present in traditional events such as marriage, thanksgiving, and the other which becomes a cultural identity of Musi Banyuasin."

"Two major types of ship cloths were once woven in South Sumatra. One, called tampan, is a relatively small rectangle or square as illus¬trated in plates 1 through 55. The other, termed palepai, is a long, narrow rectangle which may average three meters or more in length as in plates 56 through 80. Woven from cotton or cotton and silk, their intricate designs of ships, animals, trees, and people are created by colored supplementary weft threads whose rich reds, blues, or yellows p subtly contrast with the natural color of the foundation fibers. Metal¬lic strips and threads frequently lend glittering highlights or outline major shapes. Two lesser forms are the tampan madju (Chijs 1877, p. 20) and tatibin. The tampan madju, seen in plate 81, is painstakingly built up with strings of beads, and only three of these remarkable objects exist in collections today.l Almost as rare are the tatibin, cloths which resemble the long textiles in technique and design, but are small by comparison, averaging only 1 to 1.5 meters in length as in plate 82.2"

"This article deals with traditional literature of the Pakpak-Dairi and Karo peoples in North Sumatra, who are speakers of closely related Batak languages and have many common features in their language and culture. Their traditional life-style, based on agriculture and the use of forest products, requires the regular performance of community rituals featuring songs, dance, music and other oral traditions including storytelling. The songs, prayers, and stories belonging to their literary tradition have characteristic features that are intimately connected with the social context in which they are created and performed. Karo and Pakpak-Dairi oral genres often contain information about the natural environment, local customs and religious concepts. They may also reflect perceptions of relationships with neighbouring groups, such as the Minangkabau and the Malays who live in the coastal areas."

"Land is a society?s potent symbol of wealth, social power, and culture. A long time ago, when extensive jungles and forests still abounded, there were probably no serious conflicts over land ownership. Groups were free to roam about and to open up land to extend their farming area in accordance to their needs. Groups in society marked the land they had cultivated to proclaim their ownership. These marks could be very simple and could simply be a tree, a big stone, or a piece of iron hammered into the soil, or they used the physical condition of the land itself such as rivers, lakes, hills etcetera as borders to distinguish their land from that of others. Minangkabau traditional society never recorded these borders in writing on paper, leaves, or stones or any other means as many peoples in other parts of the world do. Rather, they deemed it sufficient to use natural symbols to demarcate the important agreements they had made between them orally."

"This paper aims to show that the traditional governance system, Lampik Empat Merdike and Sindang merdike (free men) established by the Besemah society in the past is the source of enthusiasm and democratic spirit in Besemah ethnocratic society. Besemah people's lives have changed through many different periods, from the megalithic, to the imperial, the colonial and to post-colonial (independence) periods. The kind of change that has taken place is concerned with the society?s view of diversity in various aspects, such as culture, knowledge, the world outside the ethnic community of Besemah, and education. Thus, multiculturalism is a unique characteristic of the Besemah community. There are two important aspects of multiculturalism in the Besemah community, namely: (1) interaction and communication between different cultures (Besemah and Dutch), (2) changes in public perception regarding the Besemah from local to global perceptions. These demonstrate that the community has a unique type of multiculturalism based on ethnocracy and the traditional governance system.The research shows that multiculturalism in Besemah society still exists in their daily lives and has a pragmatic function to improve the quality of life in various sectors."

"Dalam kurun waktu dua tahun terakhir, wilayah Sumatera Selatan telah menjadi ajang meningkatnya protes-protes para petani desa dataran rendah sehubungan dengan hilangnya hak-hak menyangkut tanah dan akses sumberdaya hutan. Protes-protes ini menjelma dalam bentuk kekerasan fisik dan perusakan kepemilikan para pemegang konsesi hutan,perkebunan kelapa sawit, tambak udang, pulp dan kertas. Makalah ini memfokus pada dua kasus konflik. Pertama, antara penduduk desa di Kundi, Bangka dengan PT Gunung Sawit Bina Lestari, perusahaan pemegang konsesi sawit. Konflik kedua berlangsung antara PT Musi Hutan Persada yang menguasai hampir 300.000 hektar lahan hutan di Sumatera Selatan dengan penduduk desa di Kabupaten Muara Enim. Kasus-kasus di kantung permukiman ini memberikan pemahaman tentang dampak serta hambatan dalam proses demokratisasi dan transisi menuju otonomi daerah."