A Semiotic Study Of Ngada’s Traditional Weaving Motives

REWU, Maria Romana (2019) A Semiotic Study Of Ngada’s Traditional Weaving Motives. Undergraduate thesis, Universits Katolik Widya Mandira Kupang.

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Abstract

This study is entitled: “A SEMIOTIC STUDY OF NGADA’S TRADITIONAL WEAVING MOTIVES”. It was conducted to answer the following questions: (1) What are the motives of Ngada’s weaving? (2) What is the meaning of Ngada’s weaving motives based on semiotic analysis? (3) What is the meaning of Ngada’s weaving colors based on semiotic analysis? (4) How the motives in Ngada’s weaving represent the social class of Ngada’s community? The objectives of this study are: (1) To find out the motives of Ngada’s weaving. (2) To figure out the meaning of Ngada’s weaving motives based on semiotic analysis. (3) To figure out the meaning of Ngada’s weaving colors based on semiotic analysis. (4) To figure out how the motives on Ngada’s weaving represent the social class of Ngada’s community. Type of research used in this study is qualitative research. The location of research is Bena village. There were 5 informants that consist of three weavers, one traditional leader and one cultural observer. In collecting data the writer used interview, observation and documentation. Based on the data analysis the writer can conclude the following: (1) There are 3 main motives in Ngada’s weaving, they are Gaja, Jara and Wai Manu. There are also 9 decorative motives in Ngada’s weaving, they are Ghiu, Bela, Riti, Wae Ghole, Li’e, Ngadhu, Bhaga, Kawa Pere and Ube. (2) Gaja motif is a symbol of royal, Jara motif is a symbol of hard work, Wai Manu is a symbol of diligence, Ghiu means dynamics of life, Bela is a symbol of the glory of Ngada’s community, Riti means unity, Wae Ghole means the struggle of life, Lie is a symbol of gold jewelry, Ngadhu is a form of respect to Ngada’s male ancestors, Bhaga is a form of respect to Ngada’s female ancestors, Kawa Pere a sign of the transition from earthly or unholy to a sacred space, and Ube means self protection. (3) Mite is a sign of authenticity and greatness of Ngada’s community, Ngura means friendly and as a representation of love, Bhara is a sign of holiness and peace, Toro means commitment and integrity to achieve their dreams, Sese means a sign of the greatness of Ngada’s woman, Toro Fiki is a kind of message from their ancestors so that their off springs will always down to earth and not to be arrogant. (4) Gaja motif is used by Gae class, Jara is used by Kisa class and Wai Manu is used by Azi Ana class. Based on the result of the analysis, the writer would like to offer some suggestions; the writer interpretation is not a perfect writing therefore the writer highly expect the existence of other studies as a comparison of the same theme, the writer also recommend traditional weaving or weaving process to serve as the learning tool in preserving the ancerstral heritage. Hopefully, this paper can increase the awareness of preservation of ancestral heritage.

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