Cultural Artifacts and the Values of Its Sacred for the Asmat Tribe

Community in Papua: Novels by Ani Sekarningsih

Herman Didipu

, Setya Yuwana Sudikan

, Haris Supratno

State University of Gorontalo, Indonesia

State University of Surabaya, Indonesia

Keywords: artifact, sacred value, ethnographic novel

Abstract: This research aimed at describing and interpreting the sacred values of cultural artifacts for society of Asmat

Tribe in Papua. The approach used was literary anthropology approach by utilizing the Clifford Geertz’s

concept. Research data sourced from 2 ethnographic novels by Ani Sekarningsih entitled Namaku Teweraut

(2000) and Osaka Anak Asmat (2002). Utilizing the descriptive interpretative method, the data analysis done

by three stages, namely: first, reading novels intensively while identifying cultural artifact, second, deeply

understanding parts which is identified, and third, interpreting the meaning behind every cultural artifact.

The research revealed 4 kinds of cultural artifacts which had values of sacred for Asmat Tribe community,

they are sculpture, ancestors milestone statue or mbis, custom home jew, and body decoration. The findings

explain that the sculpture for Asmat is a form of harmony of life with natural surroundings, as well as the

spiritual embodiment of Asmat community to the ancestors. Further, Ancestors milestone statue or mbis

contain spiritual values because it is believed as a place of ancestors’ spirit reside while the custom home

jew containing sacred values as a centre of tradition. The last, the body decoration is a symbol of self-

unification with natural surroundings and environment. The sacred value of cultural artefacts for the Asmat

tribe community essentially departs from five main functions, namely the spiritual function, ecological

function, aesthetic function, social function, and economic function.

1 INTRODUCTION

Namaku Terawut (2000) and Osakat Anak Asmat

(2002) novel by Ani Sekarningsih can be

categorized as an ethnographic novel because

containing depth description about a culture,

especially Asmat Tribe in Papua. Various patterns of

life and cultural system of Asmat Tribe describe in

those novels, including depth description about

cultural artifact which it sacred by local society.

Cultural artifact is one of cultural element which is

very prominent in Asmat Tribe society. Even,

cultural artifact being one of the culture hallmarks of

Asmat Tribe society in Papua. Cultural artifact

existence for local society not just a mere formality

or artistic expression, but it has value and depth

meaning. That is why, every cultural artifact in

Asmat tribe being something which very sacred. It is

related with believed system of local society.

Literary study that specifically discusses the

cultural artifacts of the Asmat tribe has never been

conducted before. Several previous relevant literary

studies only discuss other aspects of Asmat culture.

Even then, it does not deeply discuss the meaning

behind it. Study conducted by Malawat and Mofu

(2018) focuses on the variety of Asmat traditions or

customs contained in the novel Namaku Teweraut by

Ani Sekarningsih. The approach used to analyze the

novel is the anthropological approach to literature.

Didipu (2018) conducts a study that discusses the

culture of the Asmat tribe in Papua. However, this

study only focuses on the aspect of the Asmat

traditional ceremonial procession contained in the

novel Namaku Teweraut by Ani Sekarningsih.

Hutabarat, Rafli, and Roman (2019) examines the

socio-cultural value of the Asmat tribe in the novel

Namaku Teweraut by Ani Sekarningsih through the

anthropological approach to literature.

The relevance of the three previous studies with

this study lies on: (1) the object of the novel, (2) the

research problem, and (3) the approach or theory

used. First, the three previous studies and this study

take the same object which was the novel Namaku

Teweraut by Ani Sekarningsih. The difference is,

196

Didipu, H., Sudikan, S. and Supratno, H.

Cultural Artifacts and the Values of Its Sacred for the Asmat Tribe Community in Papua: Novels by Ani Sekarningsih.

DOI: 10.5220/0008996401960202

In Proceedings of the International Conference on Education, Language and Society (ICELS 2019), pages 196-202

ISBN: 978-989-758-405-3

this study uses another novel from Ani Sekarningsih

which is Osakat Anak Asmat. Second, the problem

studied in three previous studies and this study

describes the culture of the Asmat tribe. If the

previous studies take the issue of tradition,

traditional ceremonial processions, and socio-

cultural values of the Asmat tribe, this study focuses

on the aspect of cultural artefacts of the Asmat tribe.

This study does not only provide descriptions but

also reveals the meaning of the sacred values of each

cultural artifacts. Third, both previous studies and

this study use the anthropological approach to

literature. The difference is, this study utilizes

Clifford Geertz's interpretive anthropological theory

as a supporting theory so that cultural explanation is

not limited to superficial descriptions of a culture

(1973).

The concept of culture, according to Geertz, is

patterns of meaning contained in symbols. The

symbol itself, as explained by Geertz (1973), refers

to every object, action, event, quality, or relationship

that becomes a tool for a conception in the form of

symbolic "meaning". Symbols and meanings are the

common property of every member of the society or,

in other words, public. Therefore, understanding

culture means exploring how meaning is produced

symbolically (Barker, 2013). As a symbolic system

that is meaningful, cultural processes must be read /

understood, translated, and interpreted (Kuper,

2000).

This research aimed at describing cultural artifact

and interpreting of its sacred values for Asmat tribe

community in Papua. To reveal the cultural artifact

and its sacred values or Asmat tribe society in Papua

used literary anthropology approach with utilize

Clifford Geertz symbolic interpretative concept.

Literary anthropology is literary interdisciplinary

approach which specially examines and analyzes

various human cultural aspects in a literary works.

Characteristics of literary anthropology, according to

Markowski and Pawel (2012), depart from the fact

that literature is a space where human nature itself is

revealed, or in other words, human discover its

essence through literature. In the perspective of

literary anthropology, literary works are considered

as anthropological documents that inform us about

human existence (Maryl, 2012). The main purpose is

to reveal and understand various humans/society

cultural phenomenon which is interpreted by literary

works. In this case, literary works assumed as

representation from various cultural phenomenon

which surround the process of creating literary

works

2 RESEARCH METHOD

The method which used in this research was

interpretative descriptive method. This method was

used to give detail description about various cultural

artifacts and interpret the meaning or sacred values

or Asmat Tribe community in Papua. Data resources

of this research were two ethnographic novels by

Ani Sekarningsih which entitled Namaku Teweraut

(2000) and Osakat Anak Asmat (2002). The were

analyzed in three stages. The first, reading the

novels intensively while identifying cultural

artifacts, second deeply understanding parts which

are identified, and third, interpret the meaning

behind every cultural artifacts.

3 RESULT

3.1 Art of Carving

Carving art which is poured by Asmat tribe through

neither statues nor other sacred objects like a series

of prayers that are praised to The Creator over the

blessings of nature that always sustains life the

whole of Asmat society. For Asmat tribe society,

carving artist like the religious scholars whose find a

secret behind the mystery. Carving artist of Asmat

tribe none other than diggers of the messages of the

universe which presented by The Creator through an

abundance of natural wealth and surround

environment. Sculpture for the Asmat society is only

intermediaries to relate vertically to the God, and

horizontally between each society and environment.

Hasil suatu ukiran tidak ubahnya sebagai

mediator lantaran kepercayaan yang sudah

mendarah daging pada masyarakat tentang

hubungannya dengan sistem kepercayaan

tradisional murni, sebagai salah satu unsur

kebudayaan dalam tatanan masyrakatku yang

masih berlaku. Yaitu alat untuk mengikat sikap

perbuatan para leluhur yang akrab dengan tata

cara hidup yang masih berlaku serta sering

hadir dalam mimpi-mimpi masyarakat desa

(Sekarningsih, 2000).

The result of a carving not unlike as mediator

because of belief that is ingrained in society

about their relationship with pure traditional

believed system, as one of cultural element in the

society order which is still valid. That is tools to

bind the attitude of ancestral deeds who are

familiar with the way of life is still valid and

Cultural Artifacts and the Values of Its Sacred for the Asmat Tribe Community in Papua: Novels by Ani Sekarningsih

197

come to the dream of villagers (Sekarningsih,

2000).

Carving art for Asmat tribe society in Papua is an

art expression and aesthetic. It is related to the

nature of sculpture as one of art form. Carving art

for Asmat tribe society is one of the ways to reveal

love for beauty, especially to their beautiful nature.

This can be known from Asmat carving detail which

much to presenting the beauty of their nature. For

local society, carving art has been inseparable part

from their life, like the existence of natural

environment which provides everything for their

survival.

Besides that, carving art is a society spiritual

manifest. It is related with symbolic meaning which

containing behind physically shape of the sculpture.

Asmat society Papua believes that carving art is a

media or container of the spirits o the ancestors.

Even though it has not present in real object, or has

been lie in other world, Asmat society still very

confident that the ancestors spirits can still come

back in real life and give blessing for local society.

Those spirits can reuse again into the statues which

carved. That is why, sculpture of the statue for

Asmat society is a sacred monument. The more

perfect the details of a carving, the greater the luck

and happiness that the person with the statue will

receive. Such is the belief that applies to the Asmat

community of Papua.

3.2 Ancestors Stump Statue or Mbis

Mbis statue or ancestors stump statue is one of

cultural artifacts which is very famous in Asmat

tribe society Papua. Not only because of the art

value of carving or sculpture on the statue, but also

the mystical value that is believed by the local

community. According to Asmat society belief, mbis

statue is a place or container for dripping the

ancestor spirits which give blessing, safety,

protection, and happiness for local society. The mbis

statue’s making through the traditional ceremony

which it is sacred by Asmat society that is mbis

pokmbu ceremony or the ancestors stump traditional

ceremony. Asmat society very sacred of this

traditional ceremony, even it considered to be main

ceremony of many ritual ceremonies.

Semua itu sudah menjadi masa silam dan apakah

roh mbis yang mengantarkan berkat dan

sejahtera atas desa-desa itu masih dapat

bertahan membingkai ruang dalam nilai baru?

Demikianlah, sampai sekarang upacara mbis

masih merupakan upacara induk di antara

sekian banyak upacara ritual (Sekarningsih,

2000).

All of that has been past and is the mbis spirit

which delivered blessing and joy to the villages

still can stand framing the space in the new

value? So it is, until today mbis ceremony still a

main ecermony between so many ritual

ceremony (Sekarningsih, 2000).

Mbis statue is a spirit for Asmat society to

always thankful for blessing which is gift by The

Creator through ancestor spirit. Through engraving

the mbis statue it seems clear that Asmat society is a

community which has never forget the services and

struggles o their predecessors. If today happiness

and safety their felt, all that can’t be separated from

the role on the ancestors who have pioneered it since

the first. Besides that, the existence mbis statue for

Asmat society like “glue” which is binding

togetherness in living patterned life since the first.

Because of that, every detail mbis statue engraving is

able representing identity of Asmat society in

generally, while symbolizing someone personality

which represented through carving on the statue. In

face part of the statue must made strong lines which

symbolizing authority of an Asmat man which is

brave and manly. Through statue sculpture, peoples

can imagine personality of Asmat people which

brave, never give up, and never step back in battle.

Every snapshot in part of statue body must able to

illustrate knight spirit of Asmat people who struggle

in living a life.

Sculpture of statue Asmat society also must

representing personality and devotion of the carved

person. On one of the mbis ceremonial processions

or ancestors stump ceremony, a group of Asmat

carvers (called wowipits) carved statue from person

who was died which was made from the trunk. The

statue which made must symbolize personality and

devotion during lifetime of the carved person. It is a

shape of honour and admiration of Asmat society to

all the services and devotion during lifetime of the

person. On the engraving like this, besides aesthetic

value from the statue, the more important is spiritual

value. People who see the statue expected not only

to be admired by it crave beauty, but which is more

emphasized is appreciation of the person personality.

Asmat society in particular, expected to emulate the

patriotic and knight soul of the person so will always

infected and inherited to the next generation in

Asmat.

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3.3 Jew Traditional House

Like other regions or ethnicities in Indonesia, Asmat

tribe has their own traditional house which called

jew. Jew traditional house is a stage building in the

form of rectangle. Jew traditional house is become a

center of various it sacred ritual implementation by

local society, for example mbis traditional ceremony

or ancestors stump statue ceremony. Besides that,

Jew traditional house become a gathering place or

customary stakeholders and the warlords in

reconciliation or deliberate solving a problem, doing

customary proceedings, and planning various other

customary activities.

Jew traditional house is a representation numbers

of clan or biggest family group which exist in the

Asmat tribe society. The numbers of the clan signed

with the numbers of furnace in the traditional house.

In the center of the traditional house there is a

special fire stove occupied by customary leaders,

former warlords, famous engraver from Asmat, as

well as a medic or shaman

Although made being shared property all Asmat

society member, jew traditional house not carelessly

entered, especially by the children. A boy has begun

to be allowed and accustomed if already youth or

aged around twelve years old. It is intended for the

children at that age can already recognize, learn, and

understand various subtleties of Asmat tribe

cultivation. Even, in ancient times before known

formal education at school, jew traditional house has

been place to implementing education for Asmat

tribe’s children under direct care of indigenous

leaders. In it the children are taught about pattern of

life and life of Asmat tribe, cultivation of manners,

rules, norm, and tradition law which is valid in

Asmat, and ethic in treating nature with all the

wealth in it.

“Pendidikan di jew, rumah adat itu,

mengajarkan keharusan menghormati nenek

moyang, bukan maksud menyembah berhala. Hal

itu untuk mengingatkan pada setiap orang,

bahwa tanpa kehadiran orang-orang tua

terdahulu kita tidak mungkin lahir dan ada di

bumi. Tanpa endew dan ndiwi, atau ibu dan

bapak kita, kau tidak akan lahir di dunia ini.

Menikmati keindahan matahari dan mendengar

kicau burung, marasakan kebinalan ikan-ikan

dalam genggaman. Kamu tidak dapat mengecap

rasa sagu bakar yang enak. Bentuk terima kasih

itu dinyatakan dengan cara memperingati yang

telah meninggal. Mematuhi aturan tabu. Tidak

boleh menebang pohon disembarang tempat.

Tidak boleh membunuh hewan semaumu. Karena

nenek moyangmu bisa murka. Ia mengazabmu

dengan hukumannya, yang langsung diderita

penduduk kampung,” demikian Enakap,

ayahnya, menasehati Osakat (Sekarningsih,

2002).

“Education in Jew, that tradition house, teaches

the necessity of honouring the ancestors, not in

purpose to worship the statue. It is to remind to

everyone, that without the existence the

forerunner we are impossible to birth and exist

on earth. Without endew (our mother) and ndiwi

(our father), you will not birth in this world.

Enjoying the beauty of sun and listening birds

chirping, feel the fishiness in the grasp. You

cannot taste the delicious sago roasted taste. The

form of gratitude is stated by commemorating

the dead. Obey taboo rules. You should not cut

down trees in any place. You should not kill

animal at will because your ancestors could be

angry. He punished you with his punishment,

which is suffered by villages directly so that

Enakap, His father, advise Osakat (Sekarningsih,

2002).

The main function of jew traditional house is is

as a place for the implementation of important

ceremonies of the Asmat community, examples mbis

tradition ceremony or ancestors stump statue

ceremony. The whole of the mbis ceremony

procession is held and centered in jew traditional

house. Start from preparation that is discussion off

implementation planning, chanting of the people’s

song that called daiso, distribution of sago packets,

engraving process of the mbis statue, until set up

mbis statue, all of it centered in jew traditional

house.

3.4 Body Decoration

One of characteristic which is very unique from

Asmat tribe is decoration which is used by Asmat

people to covering their bodies from various

activity, even more so on the activities of

cultivation. Body accessory which is used by Asmat

people not only sticker or unmeaning accessories.

Any object or material which is used is containing a

deep meaning for Asmat society itself.

Osakat menemukan wajah mantan Panglima

Perang Owitipis yang berhias kapur dan tanah

merah tergulung di antara asap tebal yang

memenuhi seluruh ruang rumah adat. Sekeliling

matanya dilingkari jelaga hitam pekat yang

menambah keangkerannya. Ia duduk menyendiri,

bersandar pada tiang terukir di pusat tungku

yang marak membara. Dahinya berdestarkan

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199

facin, yaitu kulit kus-kus berwarna kuning yang

penuh dihiasi bulu-bulu putih.

Dadanya yang tipis, padat dihiasi kalung-kalung

gigi anjing dan taring babi. Nilai kalung-kalung

itu sangat berharga bagi umumnya orang Asmat.

Yang menunjukkan wibawa dan kejantanan

seseorang. Pada sebatas pinggang kebawah,

tertutup awer yang masih baru dilengkapi hiasan

bandul-bandul. Awer adalah sejenis rok dari

anyaman daun sagu. Sedangkan mulut nokennya

atau tas anyaman yang bertuah itu, tergantung

di lehernya, terbuka menghadap kearah pintu

luar. Artinya ia sedang memberi berkat

keselamatan bagi seluruh penduduk akmpung.

Berharap juga berlangsungnya kemudahan

untuk mereka yang bermohon, agar dikabulkan

cita-citanya. Di pangkal lengan kirinya terselip

pisua berhias. Yakni pisau belati yang terbuat

dari tulang kaki burung kasuari (Sekarningsih,

2002).

Osakat found face of ex warlord Owitipis which

is decorated with lime and red soil rolled in thick

smoke which fulfilled all the room of traditional

house. Around his eyes circled bold black soot

that adds to his awesomeness. He sitting by

himself, leaning on the a carved pole in the

centre of a burning furnace, his forehead wearing

facin headband, that is skin of cuscus colored

yellow which full decorated white furs.

His thin chest, densely decorated with dog tooth

and pig fangs necklaces. Value of those

necklaces is very valuable for Asmat people

generally. Which is indicates one’s authority and

virility. On the waist down, covered by awer

which is still new equipped with pendulums

decoration. Awer is a kind of skirt from woven

sago leaves. While the mouth of the noken or

webbing bag which has magic power, hanging on

his neck, open facing out door. It means he is

giving a blessing of salvation for all the villagers.

Also hope the ease for those who have begged, to

be granted of their future goals. At the base of

his left arm tucked in n ornate knife. That is

dagger knives made from Cassowary bird’s leg

bones (Sekarningsih, 2002).

If noticed, the jewellery which is used by the

Warlords of Asmat tribe all material or object which

is resourced from nature. None of the material or

object which is used are modern and from synthetic

material with high technology. This is a symbol of

Asmat people unification with nature and around

environment. Their love to nature and environment

are realized by various accessories which merged

with their body. By decorating their body using

natural material, Asmat people want to convey the

message that Asmat people can’t be separated from

whole nature. Nature is a part of live and their life.

4 DUSCUSSION

Carving art for Asmat society is a form harmony of

life the society with around nature, also as an

embodiment of Asmat society spiritual to the

ancestor. Besides as an aesthetic expression, carving

art for Asmat society is a form of life harmony of the

society with around nature. The result of carving

especially engraving of statue is an embodiment of

Asmat society spiritual to the ancestors. That is why,

in one side sculpture for Asmat society become

expression of thankful to God which has blessing

nature and environment which able to give life for

local society. In other side, sculpture becomes

symbol of belief to existence of the ancestors which

has protected and give bless. In the point of view of

Rumansara et al. (2014), the Asmat carving is a

carving of belief that aims to worship the spirits of

the ancestors so that carving is a human activity in

the form of the birth of a personal state into an

ideological, psychological, physiological, and

religious state.

Although carving skills have become the nature

of the Asmat tribe community, they believe that not

all Asmat people get the expertise and ability to

carve mbis statues, only chosen people can carve

them (Hutabarat, et al., 2019). If other carving art

can be done anytime and anywhere, carving mbis

statues must be done through a procession of sacred

traditional ceremonies namely mbis pokmbu. The

result of study conducted by Didipu (2019) indicates

that the mbis pokmbu traditional ceremony has three

important roles for the Asmat community, namely

(1) as an expression of admiration of the Asmat

people to their ancestors, (2) a form of gratitude to

the creator of the universe, and (3 ) a ritual of

praying a blessing. Ancestors stump statue or mbis

containing high aesthetic value, while containing

spiritual value because believed to be a place of

reside of the spirits of the ancestors. With the

existence of this mbis statue, local society believe

that the ancestors spirit who was died always close

to them in daily life. The result of study conducted

by Asmarandani (2007) show that mbis statues are

the efforts of Asmat tribe to maintain their

relationship with people who have died. These

ancestors spirit which is believed give bless and

protecting to them. Because of that, the more statues

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made, the more the ancestors spirit which exist close

to them so bless and protecting much more too.

Jew traditional house has important meaning for

the Asmat tribe community. Apart from being a

place to live, jew become the center of the activities

of the worship. The jew traditional house is a house

intended for the implementation of traditional

activities, ceremonies, traditional meetings, noken

(traditional asmat bags) making, wood carving

(Prasetya and Edhi 2013). Jew traditional house is a

symbol of togetherness and unity, and also

containing sacred value as a centre of cultivation. It

is means that Asmat peoples are one unified whole.

Whenever and wherever Asmat people are, they are

bound by one pattern of same cultivation system.

Clan or biggest family group can be different, but

when they are in the traditional house, all blend into

one unified whole.

Body decoration for Asmat society Papua is a

symbol of unity with nature and environment. If

noticed carefully, almost every single body

decoration which is used by Asmat people is a

material that resourced from nature. It is a tangible

manifestation of unity of Asmat people with whole

nature. By looking at the ever-worn body ornaments,

hinted to the world that Asmat people can’t be

separated from nature and environment. Nature is a

life for Asmat people. Nature is God's greatest gift to

Asmat tribe community.

In general, cultural artefacts have sacred values

for Asmat tribe community due to their five main

functions, namely spiritual, ecological, aesthetical,

social, and economical functions. Spiritual function,

related to local society system of belief which is

believe the existence of ancestor spirits which reside

in the cultural objects like statue. Ecology function,

related with the existence of nature and environment

which is becomes resource of life and centre all the

cultural activities as a God’s grace. Aesthetic

function, related with expression of art and

channelling talent of Asmat people who believed

that he born as a carver. Social function, related with

unity and commonality of mind pattern every Asmat

people so it become like “glue” which binding them

in one whole unity group. Economical function is

related to the economic potential resulting from

handicraft art of the Asmat tribe community that can

be sold at high prices so that it has the potential to

improve the welfare of local communities.

5 CONCLUSIONS

Based on the result off the research and discussion

above, can be summed up things as follows. There

are four kind of cultural artifacts of Asmat tribe

Papua which represented in the novels by Ani

Sekarningsih, there are Art of carving, ancestors

stump statue or mbis, Jew traditional house, and

body decoration. Each of those artifacts has meaning

and value of it sacred for local society. First, Art off

carving for Asmat society is a form of the society

harmony of life with surround nature. Besides that

result of carving is a spiritual embodiment the

Asmat society to the ancestors. Second, ancestors

stump statue or mbis containing high aesthetic value,

also containing spiritual value because believed as a

place where the ancestor spirits reside. Third, Jew

traditional house is a symbol of togetherness and

unity, and also containing value of it sacred as a

centre of cultivation. Fourth, body decoration for

Asmat tribe society is a symbol of unification of self

with nature and around environment. The sacred

value of cultural artefacts for the Asmat tribe

community essentially departs from five main

functions, namely the spiritual function, ecological

function, aesthetic function, social function, and

economic function.

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