Tradisi Muna Perempuan Mbojo di Desa Renda Kecamatan Belo Kabupaten Bima
DOI:
https://doi.org/10.36312/ej.v6i3.3509Keywords:
Tradisi Menenun, Motif Simbolik, Ekonomi Kreatif Desa, Warisan Budaya LokalAbstract
Tradisi muna atau menenun yang dilakukan oleh perempuan Mbojo di Desa Renda, Kabupaten Bima, merupakan warisan budaya yang kaya makna dan masih bertahan di tengah arus modernisasi. Penelitian ini bertujuan untuk mendeskripsikan secara mendalam proses tradisi muna, mengidentifikasi motif-motif kain tenun khas Renda, serta menganalisis manfaat ekonomi dan sosial dari aktivitas menenun. Penelitian menggunakan metode etnografi dengan teknik triangulasi data (wawancara, observasi, dan dokumentasi) terhadap penenun, tokoh adat, dan pelaku ekonomi lokal. Hasil penelitian menunjukkan bahwa proses muna terdiri dari tiga tahap utama: persiapan (penyediaan alat dan bahan), pelaksanaan (menghani hingga menenun), dan penutupan (pemberesan alat). Terdapat enam motif utama, yaitu garis, rebung, bunga nanas, bunga satako, kapi keu, dan pado wai, yang memiliki makna simbolik seperti perlindungan, kesuburan, dan kesinambungan hidup. Menenun berperan penting dalam pemberdayaan ekonomi perempuan, menambah pendapatan rumah tangga, serta memperkuat solidaritas dan identitas budaya. Penelitian ini mengisi kekosongan studi tentang tenun Bima secara lokal dan memberikan rekomendasi bagi pengembangan ekonomi kreatif berbasis komunitas serta pelestarian warisan budaya di tingkat desa.
The Muna Tradition of Mbojo Women in Renda Village, Belo District, Bima Regency
Abstract
The muna weaving tradition practiced by Mbojo women in Renda Village, Bima Regency, represents a culturally rich heritage that persists despite modernization. This study aims to explore the muna process, identify distinctive local textile motifs, and analyze the economic and social benefits of weaving for women. Using ethnographic methods and data triangulation (interviews, observations, and documentation), the research involved weavers, cultural leaders, and local economic actors. Findings reveal that the muna process comprises three key stages: preparation (tools and materials), execution (from warping to weaving), and closure (tidying up). Six primary motifs were identified lines, bamboo shoots, pineapple flowers, satako (single-stem flower), crab pincers, and parallelograms each symbolizing protection, fertility, and continuity. Weaving significantly contributes to women’s economic empowerment, household income, and cultural identity. It also fosters social solidarity and transmits traditional knowledge intergenerationally. This research addresses a gap in ethnographic studies on Bima weaving and provides practical recommendations for strengthening community-based creative economies and safeguarding intangible cultural heritage at the village level.
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