style and modern thought while traditional custom only plays a role as in sacred occasion not in daily life, that cannot touch and only the elder can do it.

At the end, the solution is we need a kind of oral tradition conservation not only by the researcher and the government but also form their own community. For government, it is urgent to put Kapata and Tiarka as the parts of formal education curriculum. Besides, the Art Performance should be raised in order to keep it living among communities in Maluku. 

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IV. CONCLUSION

 

After conducting the discussion, researcher draws the conclusion as the last part of this research. This research is conducted to trigger other cultural researchers and related governmental stakeholder to be concerned on this closer-to-extinct or endangered tradition.

Language and culture cannot separate each other. One of the vital elements in both of them is oral tradition that very rich and cannot be learned all of its sides only in one short study. This research is just the beginning of the new coming researches in all sciences. Oral tradition has a role in reordering the past because it contains messages from past to present time and these messages become a key element in history reconstruction.

As a product of language and literature, Kapata is the old music contains oral literature that becomes a tradition spreading all over Maluku since the kingdom of Nunusaku. PATASIWA and PATALIMA as the custom community group in Maluku also determine the way people of Maluku perceive Kapata by using each of their different languages. Commonly, Kapata applies Bahasa Tana as the mother tongue of Maluku. It is functioned as; a) as the history speaker, (b) as the medium to advise and to memorize, and (c) as a form of entertainment (d) as the projection system, (e) as the ratification tool, (f) as the education tool for children, (g) as the monitor and controller for its society so they will obey the rules, and (h) the enrichment of language and literature. The categories of Kapata are; (a) based on the content and (b) based on the time and place or recitation.

However, in its development as the only oral tradition (endangered tradition) in Maluku, Kapata faces some problems such as (a) the lack numbers of speakers and (b) the limited documentation of the texts, (c) and the effect of modernity. Thus, it is hoped that Kapata can be preserved by implementing it in formal education, performing art sector and taking a part in cultural documentation so that all generations of Maluku are able to not only recognize, comprehend but also maintain this endangered tradition.

             

V. BIBLIOGRAPHY

 

Danandjaja, J. (2002). “Folklor Indonesia”. Jakarta: Pustaka Utama.

 

Latupapua, F. E. et al. (2012). “Kapata, Sastra Lisan di Maluku Tengah”.

Balai Pengkajian Nilai Budaya Ambon.

 

Latupeirissa, N. A. (2011). “Kapata dalam Kajian Semiotika menurut

Teori Trikotomi Peirce”. Tesis pada Program Pascasarjana Ilmu Seni Musik, Institut Seni Indonesia, Yogyakarta.

 

Sahusilawane, F. (2005). “Cerita-Cerita Tua Berlatar Belakang Sejarah

dari Pulau Seram”. Ambon: Balai Kajian Sejarah dan Nilai Tradisional

Provinsi Maluku dan Maluku Utara.

 

Teeuw, A. (1994). “Indonesia Antara Kelisanan dan Keberaksaraan”. Jakarta:

Pustaka Jaya

 

Tutuarima, F & Latupapua, F. E. (2008). “Kapata sebagai

Penutur Sejarah Masyarakat Maluku (Kajian Hermeneutik terhadap Kapata Siwalima dari Negeri Soahuku, Maluku Tengah)”. Laporan Penelitian Dosen Muda DIPA Universitas Pattimura.

 

Vansina, J. (2014). “Tradisi Lisan Sebagai Sejarah”. Yogyakarta.

 

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