**1. Introduction**

"Kidnapping the bride" of Sasak wedding practices puts as a record by the Ministry of Education and Culture as Lombok West Nusa Tenggara customs [1]. This practice is also supported by the government as a code of conduct of Sasak people [2]. Lukman [3] strengthens the position of "kidnapping the bride" in Sasak traditional culture. The practice of "kidnapping the bride," from the independence era until *Order Baru* era, is discussed as a traditional Sasak wedding. The practice of "kidnapping the bride" as a Sasak cultural identity is voiced by the noble group, a heterodox Islamic group. After *Order Baru* period, "kidnapping the bride" discourse got its match from orthodox Islamic groups. This shows that there is a change in

representation in constructing the practice of "kidnapping the bride." The change in representation of the practice of "kidnapping the bride" of Sasak was caused by the election of the master teacher to the West Nusa Tenggara region. The previous regional head, in the 2003–2008 period, came from a noble group, Lalu Serinata. "Kidnapping the bride" in the master master's regime is adjusted to Islamic law and state law [4]. In this context of change, the practice of "kidnapping the bride" is important to be thorough.

The practice of "kidnapping the bride" serves an important theme of the Indonesian novel Lombok. The theme is firstly portrayed by Nadira Khalid in the novel *Ketika Cinta Tak Mau Pergi*. The novel delineates romance to counter feudalism and capitalism [5]. This practice in the *Sesak Cinta di Tanah Sasak* is constructed as a criminal act by aristocrats and police officers. Romance is the only way. Romantic discourse wins the fight. *Ketika Cinta Tak Mau Pergi* positions stronger to the poles of the real world, even if it does not experience unification. *Sesak Cinta di Tanah Sasak* maintains stronger to the ideal world, because Baiq Raihan dies. *Ketika Cinta Tak Mau Pergi,* position the nobility as the poor people and the ranks of corals as the people are rich. *Sesak Cinta di Tanah Sasak* perfoms the nobility as rich people and the ranks of coral remained as poor people.

Both novels represent the practice of "kidnapping the bride" differently. *Ketika Cinta Tidak Mau Pergi* novel does not involve the police to resolve Sahnim's parents' disapproval of "kidnapping the bride" by Lalu Kertiaji. *Sesak Cinta di Tanah Sasak* novel involves the police as judges for "kidnapping the bride" considered as a criminal act. Nagara cooperates with the oppressing nobility of the people, the ranks of coral. The difference in "kidnapping the bride" representation in the two novels is caused by the socio-political context that lies behind it. *Ketika Cinta Tidak Mau Pergi* was published in the socio-political situation of the aristocratic regime (2003–2008), while *Sesak Cinta di Tanah Sasak* presents in the socio-political context of "tuan guru" regime, 2008–2018.

Some studies [6–10] reveals that ethnic representation in contemporary Indonesian literary studies is assumed to be a local wisdom. These studies ignore the political movements of local people who at some stage are no longer local. Ethnic writers in the United States carry out social and political movements so that ethnic groups have important positions, both in literature and politics [11]. Lombok experiences this situation. From independence until the early reformation era, Lombok is led by a governor from Java. It is only in 2003 that the native son is elected as governor. Sasak ethnic identity has begun to emerge in the 2000s. The Indonesian literary production of Lombok is part of an ethnic revival to sound Sasak cultural identity.

Indonesian Literature of Lombok emerges as a meeting point of two studies, namely Lombok studies and contemporary Indonesian literary studies. Novel *Sesak Cinta di Tanah Sasak* is in these two studies. The Lombok study sees "kidnapping the bride" as a reality that continues to be constructed in various perspectives, for example Islamic studies, legal studies, and cultural studies. The reality of "kidnapping the bride" is constructed according to the perspective used to see it. Contemporary Indonesian literature studies see "kidnapping the bride" as part of romantic discourse [5]. *Sesak Cinta di Tanah Sasak* reinforces the position of "kidnapping the bride" as a romantic discourse. This practice keeps him trapped in law and prison. All that is left is the ideal world. The tendency to achieve unification is weak. Romantic discourse in the novel *Ketika Cinta Tidak Mau Pergi* and *Sesak Cinta di Tanah Sasak* does not differ from romantic discourse in modern Indonesian literature in case of Balai Pustaka. Romantic discourse in Balai Pustaka tradition creates unification, but it does not reach unification, while romantic discourse in the *Opto Ergo Sum* novel consciously rejected unification [12].

**95**

*"Kidnapping the Bride"—A Traditional Sasak Wedding Seen in* Sesak Cinta Di Tanah Sasak*…*

Ethnic representation in contemporary Indonesian literature with the Lombok case can be used as a model in contemporary Indonesian literature and a model for Lombok (cultural) studies. In this context, the boundary between the contempo-

This article applies Stuart Hall's representation theory. Hall's representation theory serves to theorize the practice of Lombok Sasak "kidnapping the bride." It accommodates the context of contemporary Indonesian literature with Lombok as its ethnic issue. This practice also delivers a sign and a discourse. As a sign, "kidnapping the bride" is constructed as semiotic analysis in the novel. As a discourse, "kidnapping the bride" is constructed academically by several studies. The novel serves as primary data source while some studies of "kidnapping the bride" and discourse about Lombok supplies secondary data sources. The first data source is in the form of lingual units in the form of sentences or paragraphs that provide information about the practice of "kidnapping the bride." The second data source is in the form of discursive statements from several studies of "kidnapping the bride" and Lombok. The data source delivers the perspective of Sasak people living in the Sasak culture of Lombok. The first and second analysis applies semiotic analysis and discourse. The analysis conveys the experience of researchers as Sasak people taken from the researcher's experience. The meaning of "kidnapping the bride" in a

**3.1 Running away in literary studies, cultural studies, and Islamic (law) studies**

The "kidnapping the bride" study conducted by Wijaya [13] and Zuhairini [14] positions "kidnapping the bride" as a culture that needs to be criticized. Both interpret *Merpati Kembar di Lombok* novel as criticism to the nobles. Wijaya sees "kidnapping the bride" as a critic of the class, while Zuhairini sees it in the context of women. Wijaya interpretes the novel as based on Islamic teachings, while Zuhairini was based on a modern way of thinking with the theme of women's freedom to behave. Wijaya uses a religious perspective, while Zuhairini uses a feminist

In cultural studies, the practice of "kidnapping the bride" was conceptualized as a result of acculturation of Sasak and Bali [15]. "Kidnapping the bride" is not a native Sasak culture, but acculturation with Balinese culture [4]. Therefore, the development of sees "kidnapping the bride" experiences codification with Islamic and state law. Lukman [16] sees "kidnapping the bride" from a legal perspective. According to him, there are three laws in the "kidnapping the bride" tradition, namely religious, customary and state law ([16], 427). In the perspective of Islamic law, Basriadi [17] reviews marital law of different classes, aristocratic women with non-aristocratic men, not contrary to customary law. If in practice, there are parents who do not want to marry off their children to men of different classes, then the bride and groom are married by the guardian of the judge. Aminullah [18] explaines that the practice of "kidnapping the bride" has been modified, for example in the tradition of drinking alcohol in the process of collusion. Mahayanti [19] sees the tension of Islamic law and customary law in terms of giving *pisuke* (money). In customary law, *pisuke* must be given, whereas in Islamic law is not

*DOI: http://dx.doi.org/10.5772/intechopen.93697*

novel is as a dialog in academic discourse.

**2. Methodology**

**3. Discussion**

perspective.

rary Indonesian and Lombok literature is blurred.

*"Kidnapping the Bride"—A Traditional Sasak Wedding Seen in* Sesak Cinta Di Tanah Sasak*… DOI: http://dx.doi.org/10.5772/intechopen.93697*

Ethnic representation in contemporary Indonesian literature with the Lombok case can be used as a model in contemporary Indonesian literature and a model for Lombok (cultural) studies. In this context, the boundary between the contemporary Indonesian and Lombok literature is blurred.
