Visual Capital Translation: Habitus, Field, and Multimodality in Bugis Pinisi Representation

Abstract

The Bugis Pinisi, formerly the pinnacle of traditional Nusantara maritime technology, has evolved from a practical sailing craft into a cultural symbol and aesthetic component in the visual communication design of South Sulawesi. This alteration encompasses not just aesthetic aspects but also reflects social, economic, and political dynamics, wherein the Pinisi symbol serves as a medium for negotiating meaning and the struggle for symbolic power. This study employs Pierre Bourdieu's framework of field, habitus, and symbolic capital to elucidate how the visual depiction of the Pinisi is shaped by the interactions among various actors, including the government, designers, tourism stakeholders, and artisan groups. The maritime habitus of the Bugis people serves as an essential foundation, augmented by qualitative visual analysis techniques grounded in multimodality within Visual Communication Design theory. The results show that Pinisi pictures experience stylization, deformation, and alteration to align with contemporary marketing requirements, frequently altering historical values into market narratives. The preeminence of governmental and economic entities reinforces the hierarchy of symbolic authority, whilst the participation of traditional groups is constrained. The innovation of this research lies in the concept of Visual Capital Translation, which entails transforming cultural-symbolic capital into visual capital that is versatile in both local and global contexts, while preserving its inherent legitimacy. This research highlights the importance of inclusive design choices in preserving the authenticity and relevance of Pinisi