Salasika 
INDONESIAN JOURNAL OF GENDER, WOMEN, 

CHILD, AND SOCIAL INCLUSION'S STUDIES 

 
VOLUME 2, NUMBER 1 – FEBRUARY 2019 

 

 

 

Table of Content 
 

Stigmatized Identity in The Myth of Dewi Ontrowulan 
Mutiara Andalas 1 
 
The Magic of Dukun Jani and the Revival of Neo-Saminism  
in Sedulur Sikep: Political Economy of Grobogan Farmers  
Against the Cement Industry 
Dewi Candraningrum 15 
 
An Early Childhood Sex Education Model: Deconstructing  
Symbolic Meanings of Sintren Dance based on Gender Perspectives 
Rangga Asmara & Widya Ratna Kusumaningrum 39 
 
The Sustainability of Women's Leadership  
in Maengket Makamberu Performance 
Jultje Aneke Rattu 61 
 
The Nature of Papuan Women Indigenous Entrepreneurship  
in Informal Agricultural Sector (A Case of Papuan Women Traders  
in Manokwari and Surrounding Areas of West Papua- Indonesia) 
Ludia T. Wambrauw, Sandra Martin, & Ramzi Addison  77 
 



CHIEF EDITORS  
Dr. Ir. Arianti Ina Restiani Hunga, M.Si. (Scopus ID: 46161114400; Google 
Scholar); Dr. Phil. Dewi Candraningrum. (Google Scholar). 
  
EXECUTIVE EDITORS 
Indriretno Setyaningrahayu, M.Pd. (Google Scholar); Daniel Kurniawan, M.Pd. 
(Google Scholar); Andi Misbahul Pratiwi, M.Si. (Google Scholar). 
 
BOARD OF EDITORS 
Prof. Claudia Derichs (Scopus ID: 14026487800). Humboldt Universität zu 
Berlin, Germany; Assoc. Prof. Dr. Ida Sabelis (Scopus ID: 6507181398). Vrije 
Universiteit (VU) Amsterdam, The Netherlands; Prof. Siti Kusujiarti.MA. 
(Scopus ID: 56276925900). Warren Wilson College, USA; Dr. Ratna Saptari 
(Scopus ID: 6504610910). Leiden University; Prof. Sylvia Tiwon (Scopus ID: 
6506468591). University of California; Prof. Dr. Emy Susanti, MA. (Google 
Scholar). Airlangga University; Prof. Dr. Ir. Keppi Sukesi, MS. (Scopus ID: 
56025803300). Brawijaya University; Dr. Kristi Poerwandari, MA. (Scopus ID: 
25628305200). University of Indonesia; Prof. Dr. Willemijn de Jong (Scopus ID: 
55258294800). University of Zurich, Switzerland; Prof. Lyn Parker (Scopus ID: 
56273266700). The University of Western Australia. 
 
REVIEWERS 
Prof. Lyn Parker (Scoups ID: 56273266700). University of Western Australia, 
Perth, Australia; Dr. Elisabet Titik Murtisari (Scopus ID: 38161752200; Google 
Scholar). Satya Wacana Christian University; Dr. Wening Udasmoro (Scopus 
ID: 56493135600; Google Scholar). Gadjah Mada University; Dr. Phil. Farah 
Purwaningrum (Scopus ID: 57205254451; Google Scholar). The University of 
Sydney & Rahayu and Partners in association with HFW; Alimatul Qibtiyah, 
M.Si. MA. Ph.D. (Scopus & Google Scholar). Sunan Kalijaga State Islamic 
University; Dr. Tyas Retno Wulan, M.Si. (Scopus & Google Scholar). The 
Jenderal Soedirman University; Dr. Titik Sumarti, MSi. (Scopus & Google 
Scholar). Bogor Agricultural University; Prof. Dr. Mien Ratoe Oedjoe, MPd. 
(Google Scholar). The University of Nusa Cendana, Kupang; J. Casey 
Hammond, PhD. (Scopus & Google Scholar). Singapore University of 
Technology and Design; Dr. Phil. Ratna Noviani (Google Scholar). Gadjah Mada 
University; Dr. Rina Herlina Haryanti (Google Scholar). Sebelas Maret 
University; Dr. Ida Ruwaida Noor (Google Scholar). University of Indonesia; Dr. 
Nurjanah, SP.M.Pd. (Google Scholar). State University of Jakarta; Dr. Ir. Evi 
Feronika Elbaar, M.Si. (Google Scholar). The University of Palangka Raya; Dr. 
Jendrius M.Si. (Google Scholar). Andalas University; Dr. Grace Jenny Soputan, 
SE. (Google Scholar). Manado State University; Dr. Anis Farida, S.Sos., SH., 
M.Si. (Scopus & Google Scholar). Sunan Ampel State Islamic University 
Surabaya; Ira Desiaanti Mangiliko, S.Si,.Ph.D. (Google Scholar). The Artha 
Wacana Christian University. 



The Sustainability of Women's Leadership in Maengket Makamberu Performance  
(Rattu) 

 

 

 
 

 

61 

The Sustainability  
of Women's Leadership  
in Maengket Makamberu Performance 

 
Jultje Aneke Rattu 
Faculty of Humanities, University of Sam Ratulangi 
nike_rattu@yahoo.com.au 

 
 

ABSTRACT 
Maengket Makamberu is one of many oral traditions that is often performed to 
introduce Minahasan ethnic identity, so people who know Minahasa usually 
know it. Although some forms have already changed, Minahasan ethnic 
peculiarity remains. From observations on several occasions of some groups 
in Minahasan communities, it appeared that although some elements have 
changed, several other elements are still being maintained. One of the 
elements that still sustains its quite dominant existence is women’s 
leadership in both the overall performance (in literature, music, and dance) 
and the vocal music. The sustained element becomes the uniqueness of 
Minahasan ethnic’s performance. This phenomenon attracted the author to 
do deeper research into the mentalité behind it. Further, the author examined 
the performance in relation to previous developments. The development 
was the sustainability of tradition passing down orally from Minahasan 
people’s ancestors (from several generations earlier) to the next generations. 
This study focused on verbal, non-verbal, material texts, co-text and 
contexts. The above phenomenon led to the following research questions: 
how Maengket Makamberu sustains its existence in the changes of 
performance’s context and how women’s leadership of Minahasan ethnic 
sustains its existence in today’s Minahasan groups.  To answer the research 
questions above, the study was conducted with two objectives. The first was 
to show forms of the performance in accordance with its context by 
analyzing the forms that were influenced by culture, society, situation, and 
ideology. The second was to show women’s leadership sustained in 
Minahasan performance by analyzing women’s leadership in text and co-
text related to context of performance. This study used ethnography method 
preceded by the collection of existing data. Empirically, it found an 
interesting phenomenon, a cultural distinctiveness of society. The concept 
sustained in the performance is a religious and democratic Walian or woman 
leader. The performances are different because of the cultural, social, 
situational, and ideological context. However, generally they have narrative 
and formal structures surviving until today. They carry Minahasan mentalité 
that has manifest functions (poetic, emotive, conative, referential) and latent 
ones (religious, social, knowledge/education, culture, entertainment). They 
are documentations to awaken and preserve Minahasan religious values as 
well as to endow and preserve the sustainability of Minahasan women's 
leadership.  

KEYWORDS: leadership, Minahasa, performance, sustainability, women  

 



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INTRODUCTION 
Maengket is a dance on tiptoe 

while swinging hands with a 
handkerchief (Palm, 1961). In 
addition, Warokka (2004) explains 
that the etimology of Maengket is 
taken from a prefix ma, meaning 
doing that is added to a basic word 
engket, meaning raising voice to 
begin a song. Based on these two 
different meanings, Maengket can be 
defined as a dance or song, but it is 
better to term it as a performance. 

Maengket performance consists 
of three babak (‘rounds), namely 
Makamberu (harvesting rice), 
Marambak (house-warming), and 
Lalaya'en (making friend). The 
performance is often shown to 
introduce Minahasan ethnic 
identity, in this way, outsiders who 
know Minahasan ethnic know 
Maengket performance. Although 
some elements have changed, the 
ethnic’s distinctiveness still survives.  

The studies of Maengket text in 
particular have been written by 
Minahasan people, such as these 
three researchers, Jessy Wenas, 
Hendrik Oroh and also Aubrey 
Rattu. Their studies are about 
history of Maengket (Wenas, 2006), 
Tondanonese Maengket with its 
literature (Oroh, 2006), and 
Performance of Maengket in 
Minahasa (Rattu, 2006). These three 
studies were published in National 
Seminar of Maengket Dance 
Handbook in 2006. 

The term of Maengket 
performance from Rattu is 
considered limited in 
meaningbecause the term used is 
limited only to art performance 
in many occasions. Maengket is an 
oral tradition that is not only an 
art, but also a religious 
performance. It is religious 

performances of Minahasan 
ethnic and Christianity and 
Catholicism. Based on this, the 
term performances are 
considered more appropriate in 
this study because the term 
includes activities in terms of art 
and religious forms. Literature 
such as Makamberu, Rumaba', and 
Lalaya'an (Tondano) or Kamberu, 
Marambak, and Lalaya'an 
(Tontemboan) were discussed by 
these three researchers. 
Additionally, an explanation of 
Mangorai literature and imageres was 
added by Wenas. The difference in 
literary designation lies on the 
origin of their sub-ethnic creators 
and the three sub-ethnics used as 
examples namely Tondano, 
Tontemboan, and Tombulu’s 
literature. 

Maengket's literature, such as 
Owey Kamberu, Rumambak, and 
Lalaya'en from sub-ethnic versions 
of Tombulu, is more often used in 
today's events in Minahasan ethnic 
events. Therefore, it is often 
performed at some events outside 
this sub-ethnic community’s areas. 
It has also performed not only 
locally and nationally, but also 
internationally. As a result, it is often 
used as a reference by other sub-
ethnic creators to develop theirs. 
This is why the version was used in 
this study. 

In addition to the study of 
Maengket’s text, especially the form 
described above, the study of its 
contents has also been described by 
researchers in emic perspective. It 
was described by some Minahasan 
researchers, such as Suoth, 
Rumengan, and Kaunang. Their 
studies are about cultural values of 
Maengket dance (Suoth, 2006), 
Maengket music and dance 
(Rumengan, 2010), and 



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63 

commodification of Maengket dance 
(Kaunang, 2010). 

The term dance from Suoth and 
Kaunang are considered very 
limited in meaning because the 
content of Maengket is limited only 
to the elements of dance. In fact, 
Maengket as an oral tradition is not 
only a dance, but also literature and 
song. Based on the reason above, the 
term of performance is considered 
more appropriate because it 
includes literary, music, and dance 
forms that support the content. 
Therefore, it is more suitable to be 
used in this study.  

Ceremonies that are related to 
agriculture, art, and culture of 
Minahasan people as well as the 
history or origin of Maengket dance 
are discussed by these three 
researchers. Some values of 
performance’s dance element such 
as religion, mapalus, ethics, art, and 
association of Minahasan people 
tradition are added by Suoth. Value 
differences lie on the difference in 
literature content. For example, 
Maowey Kamberu, Marambak, and 
Lalayaan have different literature 
values. Additionally, the different 
value of dance at the performance is 
a result of different literature 
content. 

However, the content of 
Maengket Makamberu is not only 
examined in its song, but also in the 
literature and song that are 
associated with the performance’s 
context. The content that is 
examined in the overall 
performance will reveal the value of 
the combination of the three 
elements, including the value of 
women’s leadership. Therefore, this 
study dug Minahasan women’s 
leadership by examining the 
combination of overall performance 
elements associated with its context. 

PERFORMANCE  
Bauman (1977) explains that 

performance can be defined as a 
unifying series that binds 
aesthetics of several genres 
marked and separated from 
other areas of verbal behavior. 
Area of verbal behavior that 
becomes the concept of verbal art 
in general is various ways of 
everyday speaking from a person 
or a group of speakers as a 
performer in societies. A few 
years later, Bauman (1992) added 
to his explanation that 
performance is a model of 
behavior and type of activity that 
is communicative in all societies 
at their everyday lives. The term 
performance is used in a neutral 
sense that aesthetically refers to 
an actual (parallel to 
communicative) model of 
behavior in their everyday lives. 
Performance is also a 
communication model that is 
marked as having high aesthetics, 
specially framed, and sometimes 
it is also exhibited to be enjoyed 
by audience. Therefore, 
performance in general is an 
actual practice as a counterpart in 
capacity, models, or other factors 
that are communicative. 

 According to Finnegan 
(1992), the term performance 
opens a unique interest in 
rhetorical and aesthetic delivery 
techniques in specifications and 
audiences elements. 
Interestingly, it serves as another 
notion saying that performance 
is not just a mere context, but a 
nucleus, too, whose term is 
sometimes used to imply a 
rejection of a textual term. 



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Academically, Duranti (1997) 
emphasizes that performance is 
an important topic in addition to 
indexicality and participation in 
the study of language, culture, 
and other aspects. Therefore, the 
concept of performance 
(language) is understood as a 
process of activities/actions that 
is communicative and requires 
creativity of social actors in 
society. The concept of index 
(indexicality) is applied to the 
expression of language or 
linguistic act, including pronouns 
and references or adverbs of time 
and place as several parts of 
linguistics. The concept of 
participation (language) is seen as 
a social activity that includes the 
parties involved, both speakers 
and listeners as social actors. 

 To complete the terms 
above, Sims and Stephens (2005) 
define that performance is an 
expressive activity that requires 
participation and leads to have 
fun and response. Researchers in 
this study use the term 
performance in general to 
distinguish it from show in 
analyzing traditional expressive 
activities of Minahasan ethnic 
community. Therefore, the term 
performance is used in this study 
of Maengket Makamberu. 

 

GENDER 
According to American 

Heritage Dictionary of the 
English Language (1992), 
traditionally, the term gender is 
usually used to refer to 
grammatical category in 
linguistics. However, in recent 

years, it refers to categories in 
phrases, such as gender gaps and 
politics. Its use is supported by 
anthropologists returning to sex 
to refer to biological categories 
and gender to refer to social and 
cultural categories. 

Gender is not just a concept 
referring to a classification 
system that is based on biological 
men and women sorted, 
separated, and socialized into 
some equivalent sex roles. The 
term gender also reveals some 
universal imbalances between 
men and women. When we talk 
about gender, we also talk about 
hierarchy, power, and injustice, 
not just the difference (Kimmel, 
2004). 

In general, the concept of 
gender is usually placed in or 
opposed to the concept of sex. 
Sex (female/male) is related to 
biology, whereas gender 
(feminine/masculine) is related to 
culture. Gender can therefore be 
used to refer to all behavioral 
patterns and actions, as opposed 
to biology that becomes the 
determined patterns of study in 
this performance research. 
However, it is crucial that biology 
should not be used to determine 
the sex of a person. In fact, the 
right way for women to express 
something (femininity) and for 
men to express something 
(masculinity) varies from one 
culture to another. The 
stereotyped qualities are usually 
associated with women and men 
in Western culture (generally 
greater emotional expression in 
women, but greater violence and 
aggression in men). The focus of 



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65 

gender on sex (which sees gender 
differences in biological way) is 
understood as the justification of 
ideological patriarchy (Edgar and 
Sedgwick, 2006). 

The concept from Oakley 
(1972, p. 16), which identifies 
gender as a cultural problem that 
refers to the social classification, 
is used by Elfira (2008) as a 
theory for her paper on women. 
Based on Oakley's opinion, Elfira 
associates gender with prevailing 
cultural norms and social 
classification of men and women 
in society in her research on 
Minangkabau ethnicity. It means 
that the position of men and 
women in one society can be 
different from the other societies, 
depending on cultural values. 

 

MENTALITÉ 
The term mentalité was first 

used by Braudel (1993) that 
conceptualized it as a worldview, 
especially the one that was 
collective and dominated a 
particular society in the 
civilization. Views that dictate the 
attitude of society, guide its 
choice, justify its prejudices, and 
direct its actions can be said as a 
fact of civilization and also can 
exist in a long period of time. 
The fact of civilization coming 
from the past in the form of old 
beliefs or thoughts that have 
been settled unconsciously has 
been transmitted from 
generation to generation. Such 
old beliefs can influence the 
reactions from society to a 
particular events, pressures, and 
decisions in the present fact of 

civilization in particular society 
in a long period of time. The 
settled thing is something that is 
lacking or beyond logic because it 
is a response to the stress arising 
from unconsciousness. 

According to Braudel (1993), 
mentalité of belief is the strongest 
trait and motif in a civilization, 
both in the past and at present, in 
a particular society. Almost all 
civilizations are settled in a belief 
or the supernatural and become 
the most powerful motives 
drawn, sometimes unconsciously, 
into human psychology. 
Movements or events in society 
discussed in the past may fade 
from memory when the 
phenomenon is 
permanent/semi-permanent and 
consciously/unconsciously 
contemplated. However, the 
underlying belief structure of 
civilization cannot die (Braudel 
1993: 28). 

Generally, mentalité of beliefs 
is dominant and centralized in a 
civilization, so the history, 
narratives, and myths of trust are 
unconsciously constructed 
centrally in a long period of time. 
Christianity and Catholicism are 
considered to be conceptualized 
as Foso's ethnic Minahasan beliefs 
and suffer the same fate as beliefs 
that affect civilization. 
Christianity / Catholicism as a 
new belief seizes existing 
civilization and gives new 
spiritual breaths into the 
civilization (Braudel, 1993). 

Mentalité is a very dominant 
and central belief in the 
civilization of Minahasan ethnic 



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66 

society that is analyzed through 
the performance of Maengket 
Makamberu oral tradition. 
Mentalité of beliefs that has the 
potential as the strongest trait 
and motive in maintaining 
Minahasan ethnic civilization is 
analyzed through its oral 
traditions. Therefore, the concept 
of mentalité is used to express its 
survival. 

 

PERFORMANCE OF 
MAENGKET MAKAMBERU 

As previously explained, 
Maengket Makamberu is a 
traditional performance of 
thanksgiving because the 
background that supports it is a 
thanksgiving event/ceremony of 
rice harvest. This oral tradition is 
performed because of abundant 
Minahasan rice crops; therefore 
the tradition represents activities 
of happy people in Minahasan 
ethnic society. This oral tradition 
is performed indoor or outdoor 
for about ten minutes. 

The performance shows 
women’s leadership, which is one 
of Minahasan mentalité, especially 
when a kapel (female leader) 
moves around on her tiptoe 
while raising both hands. Her 
goal is for the members to look at 
her as the leader in the team who 
prays to and thanks God. 
Nowadays, in Minahasan ethnic 
people, thanksgiving 
performance is facilitated by 
those who make the request. 

In accordance with the 
background supporting 
Minahasan oral tradition 

performance, it is special because 
it conveys Minahasan people’s 
gratitude for receiving God’s 
blessing. Nowadays, the oral 
tradition is performed in various 
presentations of Minahasan 
society because it is not just 
limited to the thanksgiving of 
rice harvest only. Therefore, the 
oral tradition is performed in 
various ceremonies, such as the 
birthday or anniversary of a 
person or organization and when 
a person is promoted at work. 

Even so, the oral tradition still 
performs the activities of rice 
farmers with friends and families 
who are grateful for rice harvest. 
In addition to the victory over 
their work/business, they are also 
grateful for the cooperation and 
unity among the people involved 
inthe harvest. These themes can 
be seen in some examples of 
fragments of poetic texts sang in 
the oral tradition performances, 
as shown in Figure 1. 

 

Research Questions 

1. How does Maengket Makamberu's 
form change based on 
performance context of 
Minahasan ethnic? 

2. How is female leadership in 
Maengket Makamberu inherited in 
Minahasan ethnic performance? 

 

Research design 

The research of Maengket 
Makamberu oral tradition 
performance was an analytical 
descriptive research based on 
philosophy of phenomenology (see 
Moleong, 2006). In relation to 
philosophical foundation, the oral 



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67 

tradition data of performance were 
presented in verbal form, especially 
poetry of song or the form of 
dance’s movements. Meaning 
analysis of the data was special and 
deep because it was given directly by 
the target by drawing the reality 
underlying the performance. 

Linguistic units used in oral 
tradition performances were 
meanings depicting the reality of 
Minahasan worldview. 

 

 

 

 
Figure 1. Maengket Makamberu in Festival Seni Budaya  

(Culture ad Art Festival) in Tompaso 

 
In answering the problems 

investigated in the performance 
research questions, a thorough 
understanding is necessary in order 
to generate the conclusion of this 
research. The conclusion 
corresponded with the context of 
time and situation of performances 
in discourse. This research was 
conducted based on factual data 
concerning the performance of oral 
tradition and data presented in 
accordance with the reality 
experienced by Minahasan people. 

This research of performance 
was an ethnographic research 
because it described the 
conceptualization of Minahasan 
culture according to what was said 
by its people. Generally, it was in 
accordance with Minahasan ethnic’s 
way of acts in the context of ritual 

tradition and artefacts or means 
they used in oral tradition 
performance. Researcher in this 
study captured the viewers of 
Minahasa speakers, their 
relationship with life, and the 
realization of the vision of the world 
depicted in the oral tradition text. 
The essence of message content 
revealed Minahasa's 
conceptualization of the existence of 
God, nature, and creations other 
than human beings in relation to 
these two supernatural powers and 
women leadership. 

 

Selection 

The first process was done 
(considering the data from Maengket 
Makamberu oral tradition diverse 
texts) by doing the selection of data 



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68 

that was already recorded before. 
The purpose of data selection was to 
get good and clear basic data from 
oral tradition. Selection was also 
done to reduce the ambiguity of 
meaning in interpretation. 

The conformity of data with the 
conceptualization of Minahasan 
ethnic community and the relevance 
of data to Maengket Makamberu 
performance was a common 
criterion. Selected data were 
performances from observation, 
interview, note, recording, and 
documents. The data component 
included background, type, topic, 
intent, function, participant, form or 
message content, action sequence, 
interaction rules, and interpretation 
norms. 

 

Transcription 

Transcription is the transfer of 
speech in the form of sound to 
written text. Specifically, one of the 
transcriptions is phonemic 
transcription that uses a single 
symbol to describe a phoneme 
regardless of phonetic differences in 
a study of oral tradition. 
Orthographic transcription is also 
used in using standard or 
conventional orthography (Danarek, 
2015). 

There were two types of 
transcriptions that were relevant to 
the performance. Firstly, a gesture 
transcription was used to record 
gestures or notations containing 
gesture information in the dance 
displayed in performances or dances 
only. Secondly, kinetic transcription 
was used to systematically and 
communicatively record the 
efficient use of eye movement, 
facial, and body with notation. 

The transcription of the 
performance was helped by two 

highly skilled key informants, those 
who had skills in singing and 
dancing, or only singing or dancing. 
Transcription of song was assisted 
by a composer, John Mapaliey, and 
transcription of dance was assisted 
by a choreographer, Sarto Loho. 

 

FORM OF MAENGKET 
MAKAMBERU PERFORMANCE 
CULTURE 

Generally, cultural context 
concerns with the purpose of 
Maengket Makamberu performance, 
so the performance form differs 
according to religion and art in 
Minahasan ethnic society. The 
explanation concerning the cultural 
context is that the execution of this 
oral tradition performance is aimed 
at the present cultural ceremonies of 
Minahasan ethnic communities. The 
cultural objectives herein are 
cultural events involving oral 
tradition performance pertaining in 
life cycle rituals and livelihoods of 
Minahasan ethnic. The research 
found that there were two cultural 
objectives identified in the oral 
tradition performance in the present 
life of Minahasan ethnic 
community. The first goal was 
Christian/Catholic worship or 
celebration, and the second was 
celebration of Minahasan ethnic 
community. 

This research was the 
introduction of cultural context and 
the identification of tperformance, 
religious and artistic contexts as well 
as existing and endangered ones. 
Therefore, the cultural context of 
the existing or endangered oral 
tradition performance in Minahasan 
ethnic communities must be 
recognized to see its survival. It 
shows how the oral tradition is 
closely related to real life of 



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69 

community performance. 
Additionally, the cultural context 
shows that the goal is not only 
entertainment, but also religion that 
plays a direct role in the life of the 
owner. 

The cultural context of the 
performance, both religious and 
artistic ones, concerns the present 
life cycle and livelihoods of 
Minahasan ethnic wherever they 
live. It indicates that cultural context 
surrounds the performance, both in 
Christian / Catholic culture and 
Minahasa traditional culture. The 
cultural context surrounding the 
performance will be explained in 
accordance with the form of religion 
and art. 

Martin (1984) explains that, 
generally, the culture of a 
community or society is seen in 
every circumstance when there is 
interaction and is seen verbally in 
the context of performance. 
Language activities undertaken by a 
community in a particular culture 
have a specific goal. The culture of 
the community with its distinctive 
purpose is seen in social interaction, 
especially in the language activities 
undertaken by the community. 

 

SOCIAL 

Social factor affects oral 
tradition of Maengket Makamberu in 
Minahasa ethnic community.  It 
generally includes some differences 
in society, such as gender 
differences, social stratification, 
ethnic groups, education levels, age 
groups, political interests, and 
others. Social factor difference is 
regarding participants or people 
involved in the oral tradition. 

Genders sometimes follow the 
requirements in the oral tradition 
performance, so there are those who 

may or may not be or common 
participants in the performance. In 
one particular performance, there 
are usually a man, woman, and man 
behaving like woman. In the 
performances, the identified men, 
women, or both can be involved as 
performers (players) or audience. 

In this case, gender does not 
apply to members only, but the 
manager/leader as well. Generally, 
the manager or leader relates to 
social cognition that produces, 
distributes, and consumes oral 
tradition performance as a collective 
heritage (Dijk, 1985). Therefore, the 
variables or social differences as 
managers also need to be explained 
in this study. 

Understanding of social 
variables or social factor differences 
is useful to understand the 
performance of oral tradition, such 
as the one in Minahasan ethnic 
communities. Identification and 
description of the social class of 
actors, leader, managers, and 
connoisseurs, or the persons 
involved in oral tradition 
performance is very important. The 
importance lies not only on 
understanding the form and content 
of performances, but also 
understanding the process of 
performance’s inheritance. 

Generally, a social factor is easily 
understood in oral tradition 
performance because a social 
variable is often easily seen in the 
performance of Minahasan ethnic. 
The difference in participants 
involved in the oral tradition can be 
easily and clearly seen when the 
tradition performance is carried out 
or presented in communities. The 
social factor that contributes to 
performance understanding will be 
in accordance with the following 
religious and art performances. 



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70 

SITUATION 

The context of situation in terms 
of time, place, and atmosphere also 
influences the way to perform 
Maengket Makamberu oral tradition in 
the present Minahasan ethnic 
society. References pertaining in the 
context of the situation affect the 
performance of oral traditions 
carried out by the leader and 
members of Minahasan ethnic 
societies. An example can be clearly 
distinguished in the performance. 

Description of context of time 
situation executes timing of the 
performance of oral tradition. 
Receipt time determines day 
division (morning, noon, or night, 
week / month (beginning, middle, or 
end), and season (planting, growing, 
or picking rice). Nowadays, different 
time division from morning to 
night, from the beginning to the end 
of week or month, even planting 
time until harvesting time can be 
performed by oral tradition. 

Situation sometimes exhausts 
the execution of oral tradition 
performance in society. Situation is 
important for players, attendees, 
doers and audience to perform. If 
electricity or building does not exist, 
performance location will be 
different. Therefore, the situation 
context will also be different. 

Atmosphere of situation 
concerns with performance’s 
function in today's Minahasa. The 
context of event describes 
performance’s function of the 
tradition, such as religious worship 
or family gratitude in Minahasan 
ethnic communities. The 
atmosphere affirms the state of 
performed oral tradition, whether it 
needs to be in a solemn, peaceful, 
serious, happy, lively, or relaxed 
atmosphere. 

Description of situation context 
relates to how to produce the state 
of oral tradition performance in 
today's Minahasan ethnic 
communities or societies. 
Differences in this way will be 
revealed by explaining the social 
context that, either partially or a 
wholly, affects the form of religion 
and art. 

 

IDEOLOGY 

Ideological ideas of knowledge, 
beliefs, understandings, strengths, or 
forces affect the performance of 
Maengket Makamberu in Minahasan 
ethnic communities or societies. 
Ideology is a culture owned by 
community, so it is very emic (view 
of indigenous peoples). Therefore, 
the context can only be accessed 
through the perspective of local 
people or insiders, such as 
Minahasan ethnic community itself. 

Ideology is the understanding, 
flow, belief, and value shared by a 
community or society. An example 
is Minahasan ideology that was 
inherited from generation to 
generation. Religious, artistic, local, 
global, traditional, modern, cultural, 
gender, and other ideals can 
influence the performance of 
Minahasan ethnic 
community/society’s oral tradition. 
This ideology becomes a socio-
cultural concept that directs 
Minahasan society. This ideological 
understanding has power that can 
influence, control, and demean 
society. Ideology is used as a way of 
thinking, talking/communicating, 
behaving, and acting of the 
arrangement of people’s life order. 

Some of these ideological spaces, 
which can be seen through 
performances exhibited by all 
participants of the performance, are 



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71 

presented in the oral tradition. The 
ideology can be seen from the way 
performers perform the oral 
tradition, whether they sing and 
dance solemnly, peacefully, 
seriously, happily, lively, or in a 
relaxed manner during the 
exhibition. The ideology of 
participants, both presenter and 
audience, is expressed or acted in 
the tradition. Ideology is 
intrinsically related to the 
extraordinary presentation in oral 
tradition performance. 

If the content of the 
performance of this Minahasan oral 
tradition ideology is analyzed, it is 
clearly centered around the earth, as 
it relates to life on earth, like rice 
field cultivation. They request to the 
great God in the heaven all pleas 
concerning their life. Their life on 
this earth is filled with abundant 
blessings from heavenly God on the 
day, growth of new rice, breeze of 
the wind, and satisfying harvest. 
There is no single plea for eternal 
happiness in heaven. 

 

CONTENT OF MAENGKET 
MAKAMBERU PERFORMANCE 
THE CONCEPT OF "RELIGIOUS 
LEADERS" 

Before the seventh century, 
Minahasan ethnic society had 
matriarchal kinship system. 
Minahasan ethnic societies were led 
by Walian, a religious women leader, 
who had a power to run the 
government of Makarua Siouw (Nine 
times Two) in Minahasa. They were 
the Council of Eighteen ancestors of 
the three Pakasa'an or Puritan Walak 
Purba (Paassen, 2006) 

However, in the seventh 
century, there was a change of 
leader in Minahasan society. At that 
time, Minahasan ethnic society that 

was previously lead by the Walian 
women began to turn to Minahasan 
man leader who was called Tona'as, 
religious village guard. Since then, 
Minahasa society that used to be 
matriarchal (maternal law) has 
changed into a patriarchal society 
(paternal law). 

Nevertheless, some signs show 
that Minahasan society is egalitarian 
in terms of women’s rights. The 
high position of women in 
Minahasan society was obvious 
when they inaugurated the first 
female Christian pastor in 1968. 
Additionally, there was also the first 
female mayor in Manado, Madame 
Waworuntu. In many other areas, 
marriage occurs because the 
decision of the parents, but in 
Minahasan ethnic, relationship 
between men and women occur 
because they like each other. 

The philosophy behind it is 
democracy, that is, equality of 
human dignity, which inspires 
similarity between male and female 
association in Minahasan ethnic 
community. Before the Gospel was 
preached in Minahasa, their 
ancestors had already believed in a 
creation story similar to the one in 
Genesis 1: 26-27: 

"And God said, let us make man in 
our image, in the likeness of the fish of 
the sea, and upon the earth, and over 
all the creeping things that creep upon 
the earth: and God created man in his 
image, in the image of God He created 
him, man and women, created them." 

Minahasan people’s ancestors 
were more consistent in applying 
the principle of equal dignity of all 
people. It was applied to both men 
and women as well as adults and 
young people in Minahasa. This can 
be seen in the report of this study. 

 



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72 

THE CONCEPT OF DEMOCRATIC 
KAPEL OR DEMOCRATIC LEADER 

The concept of democratic 
leader describes the leadership of 
women who have better and more 
religious dominant character. This 
character has an impact on various 
symptoms of Minahasan oral 
tradition, especially on the functions 
associated with female leadership. 

Conative 

Conative function focuses on 
speaker's desire for interlocutors to 
have similar action or thought to the 
speaker when they are involved in a 
two-way communication. Some 
functions can be seen from easily 
identifiable grammatical 
expressions. Additionally, conative 
functions can also be seen from the 
sound of chant and dance 
movements that support 
grammatical expression. 

In religious Maengket Makamberu, 
a form of poetry indicates in its 
literature a conative function that 
exists only in an implicit stanza of 
data 4-06 with three phrases. 
Conative function in phrases is 
characterized by the existence of 
vocative using imperative form. The 
phenomenon depicts the use of an 
imperative vocative form, which is 
the word Ya (come on). Additionally, 
the imperative form of Ya, come on, 
precedes a verb kuaNa (it’s said). The 
phrase is sung with the main tone by 
female participants, while the tone 
of ornament is sung by male 
participants with various tones to 
complete the female tone. In 
conative function, the description 
shows that the voice of women 
serves as the leader in the 
performance. 

In Artistic Maengket Makamberu, a 
conative function appears in six 
stanzas. Data 4-14 contains "Let's 

plant in new paddy fields" and "New 
seeds let owey". Conative function in 
phrases is characterized by the 
existence of vocative use that has 
imperative form. The phenomenon 
depicts the use of an imperative 
vocative form, which is the word Ya 
(come on). The expression is sung in 
the main tone by female 
participants and is danced with a 
movement that is guided by the 
Kapel, the female leader in 
traditional performance. Finally, it 
shows the role of women as the 
leader in the conative function. 

 

Referrals 

Referential function focuses on 
the referential meaning of news 
conveyed by a speaker to an 
interlocutor in a communication 
process during the performance. 
Although the analysis is more 
oriented to the context of traditional 
performances, other functions are 
still taken into account in reviewing 
referential function. 

The textual form of language in 
democratic leader concept in 
religious Maengket Makamberu has a 
function of reference that can be 
found in the data (4-06). Phrase of I 
ka'ayo i ka'ayomo, meaning when 
arrived when it arrived, is followed 
by Ya kuaNa mapangeilek, yes He 
asked for, and also Sa turuan maile-
ilek, if it is shown, so be careful. The 
phrase contains news to young 
congregation, like what is found in 
some expressions such as when it 
arrives (I ka'ayo), yes He said (Ya kua 
"Na"), and ‘ask’ (mapangeilek). The 
pronoun of the third person singular 
"He" here refers to the great God or 
more specifically the God who 
promises guidance for those who 
always pray to Him. Young men as 
the recipients of the message are not 
represented or not mentioned in the 



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73 

sung phrase. The phrase contains 
news from the leader that the 
religious ceremony is the first 
communion ritual performed not of 
their own accord. 

The textual form of the 
linguistic unit in the concept of 
democratic leaders that also bear a 
referential function is seen in the 
performance of artistic Maengket 
Makamberu. Data 4-11 consists of the 
expression of poetry that is sung, 
such as Unendo I naria e, meaning 
today when it is happy e, and Naria e 
endo wangko tamoma pelenge e, cheer e 
big day for all e. The phrase contains 
news, such as it is a big day (endo 
wangko), followed by for (tamoma), 
and closed by entirely e (peleng e), 
for the fellow of Minahasan ethnic 
community. The plural pronouns 
here refers to the whole society, 
specifically fellow farmers, who are 
invited to rejoice and to enjoy the 
blessing from God for all of them. 
Ethnic community of Minahasa as 
recipient of the news is represented 
in the song expression. The phrase 
contains news for all invited fellow 
community to cheer up. 

 

CONCLUSION 
The analysis of Maengket 

Makamberu performance is based on 
several layers, the context, co-text, 
text and the contents of function 
and meaning. An analysis of the 
layers of the three elements is useful 
for expressing the underlying 
contents of Minahasan ethnic 
community's philosophy inherited 
from their ancestors. Based on the 
results of the analysis of the form 
and content of Minahasan ethnic 
performances, several things can be 
concluded. 

Maengket Makamberu 
performances have different forms 
in accordance with the context that 

surrounds it, such as culture, society, 
situation, and ideology of 
performance. These four contexts 
surrounding the performance have 
changed the form from religious 
ceremony to art show that is more 
favorable for today’s society. 
However, there are some 
performances that return to their 
religious forms, so that there are 
religious and artistic forms. 

In general, Maengket Makamberu 
performances, both as religious and 
artistic form, are almost the same 
because there are only some 
differences in context elements. 
Both performances are inseparable 
traditions performed together in the 
form of dance and music (both vocal 
and instrumental) as well as 
literature. Specifically, there are a 
poetry text with linguistics 
characteristics in vocal music and a 
melodic poetry with artistic 
characteristics in instrumental 
music. 

Religious and artistic Maengket 
Makamberu have narrative and 
formal structures. The narrative 
structure was analyzed using the 
concept of Genette (1980) which 
states that there are five components 
(order, duration, frequency, 
atmosphere, sound) in performance. 
The formal structure was analyzed 
using critical discourse analysis 
paradigm (Dijk, 1985), which 
includes macro, superstructure, and 
micro structures. 

Narrative structure in Maengket 
Makamberu text, both religious and 
artistic ones, is shown by the singing 
of a female leader for other 
members/participants in team. The 
two related elements, participant 
and song elements, determine the 
wholeness of the song’s text 
structure as a part of the whole 
tradition performance. The 



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74 

narrative mood is shown by the 
mood and perspective speech. 

 

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