Sinrilik: A Stage of Makassar Society’s Collective Memory

Pasinrilik Daeng Aco (75 years) -

Muhammad Mughiits

t turns out that people in rural South

ISulawesi are secretly longing for the kesok-kesok rhythm. The proof is, when the people of Labbakkang listen to the chanting of Sinrilik I Manakku Caddi-caddi by Arif Daeng Rate, various expressions suddenly appear. Some are solemnly silent; occasionally wiping away tears; some even hit the floor and cheer while listening to fragments of their flagship story.

That occurrence recalls the memory of (late) Syarifuddin Daeng Tutu, the Sinrilik maestro from Gowa. Daeng Tutu once said that the sinrilik stage is a medium of interaction between the pasinrilik (actors) and the audience so as to create a warm sense of togetherness. This stage is called an organic stage, namely is a stage that does not require loudspeakers or adequate lighting in the style of modern performances.

In fact, sinrilik is a tradition that is neatly framed in the memory of both the individual and the collective of Makassar society. Therefore, the sinrilik’s organic stage has practically become a “recalling” space or as a stage for Makassar human memory. Indeed, the people of the society have not watched the sinrilik performances for a long time, but once they are presented again, various memories of their past slowly emerge and fill their minds.

Sinrilik and Makassar Human

Sinrilik is a speech accompanied by kerekkerek gallang or kesok-kesok which is one type of oral tradition of the Makassar society. Its existence is like a rare and long-awaited full moon. The moment of its arrival is called pannyaleori or solace. In some areas visited by the author, active pasinrilik are barely found (sinrilik artists).

According to the Makassar-Indonesian dictionary, sinrilik means prose-lyric. Meanwhile, according to Syarifuddin Daeng Tutu, sinrilik is a performance that combines the art of speech and instruments called kesok-kesok. Akkesok in Makassar language literally means swiping one object’s surface against another. In this context, kesok-kesok is a musical instrument that is played by swiping.

In the daily context, sinrilik is known by the Makassar society as a type of marine fish with the Latin name Caesionidae Sp.

Sinrilik:

A Stage of Makassar Soclety’s Collective Memory

It is suspected that there is a relationship between the sinrilik fish and the sinrilik oral tradition, namely the structure of the sinrilik fish which is analogous to kesokkesok instrument.

Pa’rasanganna tu Mangkasaraka (Makassar society) has a unique type of sinrilik according to their respective regions in Makassar, Gowa, Maros, Pangkep, Takalar, Jeneponto, Bulukumba, and Selayar. No wonder if some sinrilik use the character names as a title, such as, I Maddi Daeng ri Makka, from Jeneponto; I Manakku Caddi-caddi, a nobleman with a bloodline of Luwu and Bone whose background story developed in Labbakkang-Pangkep; Tuanta Salamaka Sheikh Yusuf, from Gowa; Datu Museng and Maipa Deapati, lovers from Gowa and Sumbawa, and several others. This indicates that sinrilik has become part of the local identity of the Makassar family.

Sinrilik Organology

Organologically, the kesok-kesok instrument is classified as a musical instrument with cordophone type, in which the sound source comes from the strings. Then, in terms of the structure of the shape, kesok-kesok has similarities with the rebab instrument, which has two strings and a skin membrane as a cover for the tube resonator. How to play it is by swiping the bow on the strings that are tensed.

The materials which build kesok-kesok instrument consist of selected wood. For the body, champac wood, jackfruit wood, and white teak wood are generally used, while the membrane uses young goat/teenage goat skin, buffalo tripe, or monitor lizard skin. Components for the bow use a horse’s tail to swipe strings that are stretched on curved wood which looks like a bow.

According to Yusuf, a traditional musical instrument craftsman in Gowa, the strings which are used in kesok-kesok used to come from animal intestines, and later they are switched to copper wire. As time goes by, there is an innovation in the kesok-kesok instrument. The use of strings from animal intestines and copper is replaced by the use of guitar strings as it is often found today. The head part of kesok-kesok or headstock functions as a peg holder, consisting of two tuning holes and two string turners on the right and left side of the headstock.

Sinrilik caretakers Muhammad Mughiits

Kesok-kesok -

Muhammad Fadhly Kurniawan

Sinrilik’s Treasures

Basically, sinrilik is divided into two types, namely sinrilik pakkesokkesok and sinrilik bosi timurung. Sinrilik performances can be found when the Makassar society carries out a celebration such as weddings, circumcision, inauguration events, housewarming, harvest parties, and so on.

In the past, the conduct that needs to be considered before inviting pasinrilik (sinrilik artists) is to bring a package of betel nut by the owner of the celebration. If the package is accepted, it means that pasinrilik is willing to attend the invitation. This kind of thing seems to have been found again. Currently, if someone wants to invite pasinrilik, it is enough to visit him or even by telephone. The sinrilik performance takes place after the Isha prayer until before the call of Subuh prayer, which causes pasinrilik or pakesok-kesok to have excellent stamina in order to create an attractive performance.

Meanwhile, sinrilik bosi timurung (heavy rain sinrilik) is a performance that is carried out without the use of kesok-kesok instruments, and the content tends to contain lamentations or advice. This type of sinrilik does not require a responder or an audience.

Daeng Tutu said that being pasinrilik is not a profession but a part-time activity for a pakoko—a gardener or farmer. But in this era, pasinrilik is a popular performing artist who has become a profession that has economic value. Daeng Tutu also said that the sinrilik performance was previously performed by sitting in a circle. This, if examined, contains the aspect of sipakatau—respect each other, sipakalabiri—appreciate each other, in order to sipakainga namely remind each other. These three aspects are the basic values that bind Makassar people’s morals in society.

Sinrilik and the Stage of Memory

In an observation for the last few years, organic sinrilik performances are no longer created on popular stages, especially in the city of Makassar. It can be said that currently the packaging of sinrilik performances focuses on the aesthetic aspect of the stage and is only seen from a mono-visual point of view where the concentration of the performance is only focused on the pasinrilik, whereas, ideally, the unity of the sinrilik performance lies in the interaction between pasinrilik and the audience. Fortunately, on 10/04/2021 sinrilik lovers had the opportunity to watch an organic sinrilik performance at Labbakkang—Pangkep.

Here is a sinrilik organic performance; a space for recalling the memory of the Makassar society. Many past memories are brought back to the stage. The proof is, occasionally they tease each other and argue during the performance. This is what sinrilik says as pannyaleorina tu Mangkasara, which means the solace of Makassar people.

The story of I Manakku Caddi-caddi, for example, recalls the story related to the working ethos experienced by Daeng Rate when he received an invitation to perform sinrilik at Labbakkang-Pangkep (22/01/2021). The performance was carried out as the celebration for the host who had succeeded in living overseas and entered a new home in Labbakkang.

It is said that before leaving overseas, the host was inspired by the work ethos contained in the sinrilik I Manakku Caddicaddi. The host vowed that one day when he had succeeded in his business, he would invite pasinrilik as a form of gratitude for the spirit—the fruit of the work ethos—of the sinrilik. The event can be said as appalappasa tinjak or letting go of one’s desire as well as releasing the longing to listen to sinrilik again after decades.

Sinrilik is an inseparable part of the life of Makassar society and is not just a complementary entertainment for the event. The sinrilik stage is a space for cultural knowledge and memory of Makassar people which are high-quality, and do not let this stage be tarnished by merely using it as an “identity formality”, or even making it as a “sticker” for popular performances.

(Muhammad Fadhly Kurniawan/ Alumni Program Magister Kajian Tradisi Lisan Universitas Indonesia)

Daeng Aco the caretaker of the collective memory stage -

Muhammad Mughiits