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| Illustration: Returning to hometown ahead of Eid al-Fitr is an annual tradition in Indonesia. Photo: Design/Reproduction via AI |
Mudik (returning to hometown) is an annual tradition in Indonesia, like a poem that continues to be written. It is written repeatedly by millions of people, especially around Eid al-Fitr. When they return to their hometown, their journey is not simply moving from one space to another, but a process of retracing the meaning of space that has shaped their identities and lives from the beginning.
Within this framework, the Sociology of Space builds its basic theoretical assumption that space is not merely a passive physical container, but the fruit of social practices, relationships, and human experiences. French sociologist Henri Lefebvre labeled space as the product or formation of activities, symbols, and power. Mudik, in this context, is a social practice that reproduces the meaning of the village as a nostalgic space, a gathering place for relatives, and the initial formation of one's identity.
From the perspective of the Sociology of Space, the mudik narrative also envisions cities and villages as two distinct social entities. Cities are perceived as living spaces, workplaces, stages of competition, and centers for the construction of social mobility. In contrast, villages are depicted as affective spaces, where kinship ties remain strong, traditional customs are preserved, and a sense of belonging remains strong. Therefore, when mudik (traveling home) occurs, it represents a journey home to rediscover a meaningful space, or a shift from a functional space (the city) to an emotional space (the village).
Mudik can be further linked to the concept of "Time-Space Compression" proposed by David W. Harvey. According to this lecturer at the Anthropology and Geography Graduate Center of the City University of New York, modernity accelerates human mobility through advances in transportation and communication technology. This acceleration, facilitated by the provision of modern transportation services and the rapidity with which people rush to their villages, actually reinforces the longing for their hometowns.
Furthermore, mudik also reflects spatial inequality and injustice. The fact is, not everyone can easily return to their hometowns. The reasons for this are varied, including relatively expensive transportation costs that are unaffordable for certain groups, the density of the mudik flow, and limited access. This demonstrates that space is never neutral, but is shaped and regulated by economic structures and policies. These two determinants determine who can move to their hometowns and who remains in the city.
An interesting question in the digital age is, is it true that going home doesn't require physically returning to one's hometown? The answer is no. The reason is that the spatial experience of the village cannot be completely replaced by a screen. There is a sense of nostalgia, a sense of kinship, and a traditional aura in the village that necessitates physical presence.
Ultimately, going home for Eid, as an annual event, can be interpreted as a spatial poem that will never be finished being written or created. As a spatial poem, going home will always live in memory, enlivened by the journey, and celebrated through human encounters with their places of origin. Therefore, going home as a spatial practice not only narrates the place where humans gather (village), but also about who we truly are (our origins).***
Note: The article in Indonesian can be read on the Tebarnews.com page.
