Social Semiotic in Ceha Kila Traditional Game

Maria Marietta Bali Larasati, Yosef Demon


Semiotic comes from Greek, semeion, which means sign. Terminologically, semiotic could be defined as a study of a large number of objects, phenomena, and culture as the sign. Jan Zoest purposes were semiotic as a study of sign and everything which relates with it, the functions, its connection with other words, the users’ reception and transmission (Sobur, 2006: 95-96). Halliday and Hasan (1992: 16) stated that social semiotic consist three contextual centers of textual interpretation. They are field, tenor, and mode. These concepts were used in interpreting social and textual context which is the place where the exchange of meanings occurs. Human and culture are an severable matter. There will be no a culture if there isn't a human. Human use their reason and potencies to create a culture. Manggarai culture is a work of reason, potencies, intentions, and ideals. This culture becomes the essential wealth for Manggarai people personally or collectively (Dagur, 1997: 2). Ceha Kila (hide the ring) is one of inherited Manggarai traditional game. Ceha Kila engaged many people in two groups. They have to see, participate, and take these benefits for communal life. This game uses Kila (ring) as a mode. People must sing and riddle. If the answer is incorrect the pointed player must say toe (no). Semiotic sources could be found in everything which has cultural and social meaning. To figure Ceha Kila out, people must give attention to its cultural context, norms, and rules. Social semiotic contributes to finding and developing many new semiotic sources and their using in life.


Social, semiotic, Ceha Kila, traditional game

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