Symbolism of The Sabah Bugis Motive: Sign and Meaning: Weapon and Textile

  • Mohamad Azizie Nordin Faculty Art and Design, Universiti Teknologi Mara, Shah Alam, Selangor, Malaysia
  • Saiful Akram Che Cob Faculty Art and Design, Universiti Teknologi Mara, Shah Alam, Selangor, Malaysia
Keywords: textile, weapon, meaning, symbol

Abstract

The research aims to analyse the motive of the traditional Bugis symbol and meaning in Tawau, Sabah (weapon & textile). The research is type is d descriptive qualitative approach with interviews, observation, document, and literature review. Data analysis techniques in this research are ethnography Clifford Geertz. The results of the research indicated that weapons and textiles have a philosophy and symbolic meaning of Bugis Sabah's motive. In this study, textile for Bugis Sabah has convinced symbolic meanings that are very dependent on the wearer for green color for nobility women, red color for teenager’s girl, red color for married women, purple color for widows, black color for elderly and white color for assistants and shaman. Lippa Sabbe’ cloth also has its meaning and philosophy. The motifs found in this Lippa Sabbe ’is Balo Tettong, Mallobang, Cobo, Balo dan Balo Renni.  For weapons, the cultural value system is also an important aspect of a culture that has a concept in the lives of society. These cultural values are an important and valuable aspect of one's personality. This is also because the value of the culture is also a guideline that is significant enough for each human behavior. In culture, there are ideas and values for them to learn. In a way, they are sure to know the elements. Pamor Polobessi functions to providing content on the values of heroism (arowaenengeng); meanwhile (abbaramparengeng is meant to be wealth. Also, the authority known as (arajangeng) is placed in Polobessi.

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Published
2020-11-27
How to Cite
Nordin, M. A., & Che Cob, S. A. (2020). Symbolism of The Sabah Bugis Motive: Sign and Meaning: Weapon and Textile. KUPAS SENI: Jurnal Seni Dan Pendidikan Seni, 8(2), 1-12. https://doi.org/10.37134/kupasseni.vol8.2.1.2020