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AUTHOR Kartomihardjo, Soeseno TITLE The Communicative Code Choices in Performances. PUB DATE Nov 91 NOTE 32p.; Paper presented at the Conference on Bilingualism and National Development (Darussalam, Brunei, November 1991). PUB TYPE Reports Evaluative/Feasibility (142) Speeches/Conference Papers (150)

EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Code Switching (Language); *Drama; Ethnic Groups; *Folk Culture; Foreign Countries; Indonesian; *Interpersonal Communication; Javanese; *Language Role; Sociocultural Patterns; Tape Recordings; Uncommonly Taught Languages IDENTIFIERS * (East ); Madurese

ABSTRACT The choice of languages in daily communication among members of East Javanese society is discussed, as illustrated in language choice in performances of "ludruk," the East Javanese folk play. Data are drawn from audiocassette ludruk recordings, which are seen as depicting contemporary East Javanese society. First, the ethnic makeup of the East Javanese population is described, and results of analysis of the recordings are presented. The analysis looked at the ethnic origins of the actors, the language styles and dialects spoken, and factors determining selection of language or dialect, including social status, age, gender, mood, education and sophistication level, and role and relationship of the interlocutors. Factors restricting code use, and patterns of code mixing and code switching, are also discussed. The codes used in the cassettes analyzed included Indonesian, Krama and Ngoko Javanese, and Madurese, with Ngoko Javanese used most, then Krama Javanese, Madurese, and Indonesian, in that descending order of frequency. Switching between the two Javanese dialects, often without intent, is common and creates amusing situations. These code choices are seen as reflecting the communicative code choices of the population as a whole. Contains 14 references and a sample ludruk dialogue. (MSE)

Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** THE COMMUNICATIVE CODE

CHOICES IN L:DRUK

PERFORMANCES

By

SOESENO KARTOMIHARDJO

U S DEPARTMENT OFEDUCATION and .,-p,o.ren,en. THIS Othce of Educal,ona Resew, PERMISSION TO REPRODUCE INFORMATION EDUCATIONAL RESOURCES MATER;AL HAS BEENGRANTED BY CENTER 1ER,C eofed.ced as Trhs document has been c"-{Sf'S-erNO ece.ved I,on, the De's'," Organaabon ong.nal.ngd ,nade :o .n-lrove Mmo, changes "a.e been keveyNcCreva-r reoroducton dua.Iy stated ,n tn,s coo. Po.nts of vev...), OO.nEonseoresen. off.c,a, 'nent do not necessa.y TO THE EDUCATIONALRESOURCES OE RI oos.hon 0 pokcy INFORMATION CENTER ERIC,'

UNIVERSITY BRUNEI DARUSSALAM INTERNATIONALCONFERENCE INTRODUCTION

This paper studies the code choices in daily communications among members of EastJavanese society with regard to the social and cultural factors whichdetermine the choices. Such choices are essential because they mark social meanings which are to be indicated, sometimesimplicitly but very often alsoexplicitly in thecommunication's among members ofsociety. A given choice may or may not beshared by members of a group who happen toinvolve themselves in a speech situation. As a matter of fact, thepopulation of East

Java consists of various groups including different ethnic groupswho each has its ownnorms and values which are appreciated and followed by members ofthe same group. As a member of East Javanese society, however, everyindividual, - regardless of a group, subjects himself to the common norms and values established in society. there In short, this paper describes what code choices

are in which aresocially important; who use these

choices, whenend where and for what purposesthese choices are used. Thedescription also includes what choices are and to available to interlocutors of the same background

interlocutors of different social and educational

backgrounds. During the course of this paper,it will become to be clear that there are significant social factors intra-grcup considered in inter-group as well as

communication.

1

:3 Accordina to thelatest sensus (1990) the approximately cqnsists of Javanese,the 33.million population of East Java and various ethnic groups greatest number, the Madurese for several reasons oriainating fromthe outer islands who Then there are also have derided to live in Eat Java. 1 who are descendantsof Chinese, smaller groups of people Javanese ethnicinclude Arabs and otherminority groups. The mountain of Tengger who arebelieved to those livina in the the old Javanese kinadomof be the descendantsof people of to avoid inthe early Mojopahit whofled to this area, Banyuwanai,' almost at the 16th century. Inthe regency of its neiahborhood livethe Osing easterntip of Java, and dialect and their Javanese with theirtypical Osing Javanese that of themajority typical culture,:sliohtly different from

of Javanese group. various aroups, Instead of collectinadatafrom these chosen a score ofprerecorded the writer of this paper has folk play with audio-cassettes of'Ludruk", the East Javanese characteristics. These cassettesare available East Javanese cities in East Java. These in particularstores in many beenchosen partly forpractical ludruk performances have data collectingwhich is purposes incomparison to the actual and partly because ludruk costly and time consumino, East Javanesesocial performances havedepicted contemporary of the people life, including thecharacteristic ways of life daily life of East and the communicativecode choices in the

2 4 limited time thewriter Javanese society. Because of the failed to include the representationsof the minority groups were not in the chosen cassettes, justbecause such cassettes prepared. available in the market by thetime this paper was experience ludruk mayperform a According to the writer's descendent whose story which include acharacter of a Chinese is still verymuch speech, in Indonesianor Javanese, influenced by the typical speechof this ethnic. Javanese, a Most of the actorsand actresses are East Javanese, whilesome are very limited number areCentral used in every ludru Madurese. Basically, the languacia the basic levelcalled performance is Javanese, particular.ly really happening in Ngoko. In accordancewith what is addressee, a speakerin a society, as to show respect to the Krama. The actors ludruk may also use thepolite level called ordinarily use the and actresses coming from life. These Central Javanese dialect, asit happens in real dialect, but residents of East Java understandEast Javanese the Madurese they are reluctant to speak it. Meanwhile, and Javanese with a actors and actresses speak Madurese codes are often strong Madurese accent,The use of different it alw:ysinvites manipulated in a ludrukoerformance because audience usually laughter from the part ofthe audience. The of the slip ofthe also laugh when a character, because choice. All these tongue or on purpose makes awrong code determining themwill kinds of code choices and the factors

3 5 be discussed inthis paper.

Social Status

sOcial One of the mostimportant factors which determine interactions among and lanauace behaviors in the daily members of East Javanesesociety is social status.Eventhouah important, some people still regard ascribed social status consider the achieved the majority of EastJavam,se people in life of an social status as shown from the success of wealth, a individual, indicated by a great accumulation indications of hioh rank or positionin his career, and other and therefore success in anywalks of liTe, more important one's parents. There more respected than that inherited from indicate a certain respect are examplesin the cassettes that successful in aiven by an old friend to aperson who has been 'Juraaan his career and becamerich. In the cassette entitled the show of respectis roti sepet (Unkind bakery owner)' indicated by a different use of second personal pronoun. the rich friend Formerly koen now becomes peno, while still keep the maintains the old use of koen. Both friends the use of NookoJavanese close relationship indicated by a job level. In the sameepisode a youna woman applying for while the latter uses the Krama level to the bakery owner with the rule chooses the Nooko levelwhich is in accordance happens in "Basemannyleweng in real life. A similar thing firstwife, a rich (Unfaithful Baseman)" where Baseman's woman, speaks Ncioko to two young men who are applyingfar a job as a gardener and adriver. The latter two use Krama.

Since she is talkingto strangers, she mixes the Ncloko and the Krama-. The Krama is usedwhen she addresses directly to the strangers and the Ngoko is particularlyused when talking about herself, her family and her wellbeing.

When carrying on his duty an-official my use Indonesian to anunknown addressee. This isexemplified in "Dukun Ulo

Entcng (A shaman called Ula Entong)" where a security guard uses reciprocal Indonesian addressed to ayoung man in a dark

place. When they findout thatthey areneighbors who know

one another very well they codeswitch into Ncloko Javanese.

The young man happens to be somebody whodoes not have a permanent joband therefore he considers hisacquaintance to be higher in status than himself.

Age

Seniority in age also calls for respectindicated by the

use of certain code and terms of address. In East Java children usually use Ncloko Javanese to theirparents with the

second personal pronoun samoeyan or peno,the former being a little bit more polite than the latter, while the parents

ordinarily use Ngoko but with the second personal pronoun koen which is the least polite than the twoabove. This case the son is also exemplified in "Unfaithful Baseman" where

uses peno and the daughter uses samoeyan.

5 of )" a In "Semanggi Surabaya (Clover salad reciprocal Krama to thefather of a forman in a factory uses be higher in factory worker. Theforman is considered to worker, however, thefather is status than the father of the deserves some respect. Inthe Krama an old man,and therefore with lots level they are usinathey use reciprocal sampeyan belona tothe working of Madva words,indicatingthat they Madya words also indicatethat Class people. The presence of (Naoko) and Polite they are usina theMid-level between Basic

(Krama) levels.

Sex

addressee of a Ordinarily when people are talking to an of uncomfortableness, different sexthere is a feeling In "Kartolo insecurity or limitednessin some way or another. auide)", the auide dadi makelar losmen(Kartolo, a tourist's uncomfortableness whentalking to uses Krama toindicate this havingthe same feelina also a femaletourist. The tourist, herselfto be a bithigher in uses Krama, but, judging Nook() level,particularly status, often code switch in the herself, the business she is when she is talking about the same carrying on andthe like. To amale new acquaintance when they meet for the ouide uses Naoko almost right away introduces an older male first time. The guide, later, tourist in KrAma. Bothtourists use tourist to the female he cndeswitches into Krama in the introduction, however, 68 Indonesian to conceal his insecurity feeling. The woman, and however, feels funny to codeswitch into Indonesian suggests him to continue th4/conversation in Krama. Later, when they become more familiar theycodeswitch again inNqoko show equal with reciprocal sampevan "the Krama you" to respect.

In the episode "Thehunter", Kartolo the hunter greets woman answer an unfamiliarvillage woman in Krama. the young reciprocally in Krama. Later,'when theybecome good friends they feel and their relationship becomemuch closer, when free from uncomfortableness and inhibition, they ciiange the

Krama into Ngoko.

Mood

.: A certain state of mind or feelingis often indicatedby different a certain code, while anotherfeeling is shown by a aloud or talk to use of code. In East Javapeople often think code he themselves. When this happens oneordinarily uses the Madurese- knows best, the Javanese uses NqokoJavanese, the descendant uses the uses basic level ofMadurese, the Chinese of this group. En variety of Indonesian common for members ludruk performances talking to oneself is often elaborated an episode, or a pew into a monologue which usually begins for instance, a part of an episode. In"Kartolo the hunter" monologue in Ncloko,in character opens the storywith a business woman "Kartolo the tourist guide" Ani a married

7 9 an episode also in Nookn, while starts a new part of starts an episode Suryadewi, a youngfemaleMadurese vendor

in basic levelMadurese. they ordinarily also usetheir When people are angry the basic level, if any, mother tonoue particularly and quite oftenmingled containing strono emotional words This happenswith Ani with swear words,especially the men. in "Kartolo the hunter",and between and Baseman in Naoko master with aviolet Singabrata andSingabubrah in "The the bride" Cukup and Julig who robe". In "Lara Pangkon communicate in Krama. represent the brideand the bridegroom and end their disagreementin a Laterwhen they disagree fioht they codeswitchinto Nooko love sometimes also Strona interest,attractednessor "Kartolo the tourist'souide" calls fora certain code. In feels attractedto the for instance Metty,a young widow interse when shefjnds auide. Her attractedness bscomes more Kartolothe contemporary out thatthe guide is actually happiness andintense ludruk star. Her surprisemixed with her codemixtheKrama she feeling of attractednessmake to the ouidewithNgoko previously uses whentalking Nnoko words whenshe Javanese. Thiscodemixing is marked with person she lovesand about describesherfeelings, the guide, however,she herself. To.communicate directlyto the also occurs in keeps usino the Krama.This similar phenomenon also codemixesthe "Unfaithful Baseman".Isye.his first wife

8 10 handsome young Krama with Ncloko when talking to a somewhat the previous newemployeeof hers. The difference with Ncloko in that example, however, lies in the way she uses the Ncloko when she once in a while really codeswitches into is higher in talking to him becauseshe realized that she really status than the employee. Thisstage elaboration reflects what is happening in reallife.

Education and sophistication

often use Educated people in variousencounters Indonesian to one another. The useof Javanese in ludruk is meant for the particularly because ludruk is especially actors and ordinary people who mostly speak Javanese. The actresses, however, also realizethe importance ofIndonesian

nowadays, and therefore includethis codewhen the condition and situation calls for it.Indonesian in ludrukperformances education and is' often used to show an effect of good Indonesian is used for sophistication. Very often, however, part of boasting which of course inviteslaughters from the sophistication and the audience. Among Javanese and Madurese of good success in education maybe reflected in the use

Krama or polite levelwith lots of honorificterms. the bride who In "Married to a fairy"for instance, when parents:in-law in is also the beaHtiful fairy talks to her the parents-in-law beautiful Kramawith honorific terms her identity, praise her very highly. When asked about

9

11 however, she tellsthem about her parents and the short history of the city whereher father originally comes fromin proper Indonesian. The parents-in-lawonce again admireher of herwide knowledge and her beautiful languace, which accnrdino to them must be the result of great successin her education. widow In "Kartolo the tourist's guide" the younc when codeswitches into Indonesian from reciprocal Krama talkinc to the hotel manager and the bellboyabout her drinks in a knowledge of various kinds of pastries and certain hotel. The addresseesbelieve her and admire silently

of her knowledce. On,theother band when a gardener who does not speak Indonesianin "A ceremony to put a baby down onthe

ground for the first time," greets his boss in Indonesian invites creat laughtersfrom the audience and a funny comment friends are fromthe boss. In "Unfaithful BaseMan" two talking about their pastexperience in Naoko. When one of

them chancesthe subject concerning ecology,they codeswitch into Indonesian. Such a subject is considered sophisticated indicated by the and deserves serious consideration which is

use of theformal languace, i.e. Indonesian.

Amon() friends Indonesian words, phrases and utterances of the as well are commonly used which draw attention participants involved inthe interaction. Throuch' the way

these lancuage forms are put forwardthe participants know or a quite well whet!ler they are meant for a joke

10 12 sophisticated purposes. In bothcases the speakeris always complimented as being learned, well informed .of thelatest knowledge and the like, with a slight differenttone, because one is meant to be a real compliment, while the other is meant for a joke.

Role and relationship

In East Javanese society, as in othersocieties, people are aware of their position insociety in general andalso in a social interaction. Proper behaviors includinglinguistic are always made to comply withthe rules concerningthe roles

and relationships of every participantsin an interaction. Physical appearance oc an individual and later also his

choice of language are good enough for otherpeople to judge his position in society in general andhis role relationship There related to other individuals in a social interaction. are ample examples in thecassettes which reflects these. In wife "Unfaithful Bas,man" for instance, a businessman's reminds his driver to use the propertermof address towards

the businessman. The driver has used Cak "brother" Baseman the same and is corrected into Pak "Mister" Baseman. In driver to change episode, later, the businessman tells the his clothes appropriately as heis the driver of animportant baby down and well-to-do businessman. In "A ceremony to put commenting on on the ground forthe first time" a friend is

the clothings worn bya successful person.The complimented

11

13 person approves of all the comments because he is clad in accordance with the unwritten societal rules. In the same episode, the .son of a well-to-do businessman wear simple clothings because he prefers to associate himself with his friends belongino to the common people and talks in the code

common to his friends.

In the previous examples it has been implied that a certain role dictates the use of a certain code.And when the

role and relationship chanoe, the code also changes. In

"Kentrung (A storY teller accompanied by some

players)" the story teller asks a new acquaintance to

codeswitch intoNooko from Krama, because they both will be workino closely together very soon. In "Unfaithful Baseman"

new acquaintances, a youngman anda young woman talks in Krama, but when they become aboy friend and a oirl friend

they talk in Nooko. In "Kartolo the tourist's guide" a young woman is addressedin Indonesian because accordingto the addressor she is dressed like a school teacher.She, however,

rejects and asks him to look at her more closely so that he

is able to notice the differences.She says all this in Krama

because they are new acquaintanceswho just met.

The actors and actresses in these ludruk performances

are colleaguesand frienHs in their daily life. They, therefore often forget and confusetheir roles on Stage and

in real life. Sometimes they purposely confusethe two roles

to invite laughters. In "Kartolo the tourist's guide" for

1214 humorously that on instance, the guide remindsa character stage the reminded character is a driver notthe boss. The

remindedcharacteroften usesNqoko tothe boss, but he always changes into Kramawhen he is aware of his role on

stage. Ordinarily people in East Java useIndonesian to address

an unfamiliar person andchange into Javanesewhen they find also out thatthey areJavanese. This similar phenomenon happens with the other ethnic groups.When they find out that

they areof differentethnic they continueusing Indonesian qnless one of them.undrstands andspeaks the language ofthe

other.

Restricted use of a code

Indonesian, as stated above, is widelyused in formal

en-counters, as in the offices andat schools. Itis also used of different ethnic among participants in an interaction groups. Indonesian isalso used ina certainsetting such.a temples, except whenthe' sermon in churches, mosques and congregation consists of oneparticular ethnic group,such as in in a church, a Javanesechurch and in many mosques congregation is exclusively the villages in ava. When the is used chinese deScendants, however, formal Indonesian used by instead of the .-variety of Indonesian commonly variety is used in descendants of chinese. This non-standard is also informal situations eSPecially at home. Indonesian

13

5 use more frequently in the cities, as between strangers of the same ethnic group. In a rural area they may start with Javanese or Madurese, or when they start withIndonesian they

immediately switch into the language of their mother tongue,

i.e. Javanese for the Javanese ethnic and Madurese for the Madurese. As exemplified in the discussion above, Indonesian

is also the language of the educated people and of

sophisticated matters. Many individuas prefer to use Indonesian eventhough

when the perfect timeto use Javanese or Madurese has come. This happens particularly when the speakers feelsinsecure in

the mastery of the mother tongue. An older interlocutor has switched into Indonesian, for instance, butthe younger interlocutor keeps using Indonesian because he feels that he does not speak Krama, the expected code, verywell. When this

happens they maycontinue using different codes. In many

cases, however, theolder person switches back into

Indonesian so that theymay continue without any feelingof insecurity anduncomfortableness. This situation, however, does not happen inthe selected ludruk performances because the actors and actresses speak theirmother tongue well.

Indonesian is not very frequently used in the selected

ludruk performancesbecause they are meant for the common

people who are mostlyJavanese. However, when the situation

on stage calls forthe use of Indonesian this languaoe is not

avoided, as exemplified .in thediscussions above, for

14 16 about ecology, or instance when two characters are talking character as being when a character takesmistakenly another theselected a school teacher,and so forth. Theproducers of where performances seem purposely choose informal situations and Indonesianis Javanese orMadurese is the common code ludruk performances, only sparsely employed. The available represent the biggest therefore still in one way or another, number of people in East Java. represented in the So farMadurese has neverbeen MadureSe is the languageof examples. As a matterof fact, conts with the Madurese people and thosewho have constJint only some of the them. In-the availablecassettes, however, speak Madurese. In actors and actres.ses understand and by some gamelan "Kentrunq (a story teller accompanied with a Madurese players)" for instance, the episode starts She sings and character who, in real lifeis also a Madurese. on stage speaks both in Madurese andJavanese. Thesituation addresses her in becomes hilariouswhen aJavanese stranger faultyMadurese. She keepsusing Maduresewhile the Javanese Javanese and faulty character switches backand forth between

Madurese. The audience are laughing at the misunderstanding the part of ths created by the limitedmastery of Madurese on also another Javanese Javanese. In this scene there is at all. Whenhe character who does not understand Madurese character speaks he does not understandwhatthe Madurese interpret, whilethe always asks his Javanese friend to

1 5

17 latter always makes mistakes in the interpretation. The Madurese.woman thenswitches into Javanese with a strong

Madurese accent. The whole episode is full of misunderstandino, sometimes createdpurposely to invite 1F:uchters 4-rnm the audience.

In oeneral the Madurese lanouage is constructed similarly with Javanese in thatthere is also the basic level

and the polite level, enrich with honorific terms to show

respect. In the episodes only basic level is used. The Madurese characters in theavailable cassettes speak Javanese

and Indonesian. They speak Madurese only when theytalk to

themselves, and to addressees who understand the language. When the addressees do notunderstand the lanauage perfectly

they switch into Javanese. The use of Indonesian bytnese Madurese is more or lesssimilar in many ways as used by the

native Javanese speakers. In "Marlena suffers from heavy

stress" for instance, theMadurese woman character uses

Indonesianwhen shequotes a moral teaching, or when she

wants to indicate that she has a certain educatiooal background. She switches back toMadurese when she is angry.

When the Madurese character does not speakother

languaaes he may useMadurese only. In "The haunted house"

for instance, a Madurese husbandspeaks almost constantly in

Madui-ese and his wife translates it into Javanese when a same Javanese addresseeneeds some explanation. In the

episode there is a situation where the wife is absent. In

16

1 8 this case the Madurese speak Madureseand the Javanese spe-Ak Javanese. Because each of them has a very limited knowledge

of thecode used by the.person spoken to, theyspeak slowly and each of them has to use a synonymwhen the person spoken often they have to does not understand a certain word. Very to rephrase an utterance withthe hope that they conveytheir

messages well. In real life this often happensin the market

place where Madurese vendorsspeaks Madurese while their

Javanese customers speak Javanese to them.Fortunately there

are lots Of similar lexical itemsfound in both languages, conveying though very often with different pronunciations, similar meanings. In addition, there are lotsof Madurese

words which are similar in meanings and forms with certain Indonesian words. With constantdaily contacts therefore,

many Madurese 'communitiesliving among Javanesecommunities and vice versa, use bothlanguages. The mother tongueis used

perfectlywhile the second' language is often spoken with limitations and always with the accentof the mother tongue. which are It is these limitations and misunderstandings humorous manipulated in ludruk performances to create

effects.

Codemixing and codeswitching

In real daily life in East Javamembers of East Javanese

society may communicate withone another in different codes his customer for at a c.artain time. A taxi driver and

17 '9 is usually happens. instance, may startwith Indonesian, as learning that the driver's The customer, a Madurese, typically Madurese, behaviors includingthe verbal one are while the driver may immediately switches into Madurese initiative, switches into thepolite level ofMadurese. The from the customer, the however, almost always comes When the driver supposedly highersocial status participant. level for one reasonon feels insecure in using the polite another, however, he maycontinue using Indonesian. Learning customer may switche the uncomfortablenessof the driver the using Madurese, while back into Indonesian or continue generation probably commenting onthe tendency of the younger the polite one. of using the basiclevel only andneglecting the customer is Such a question or commentis made only when by the correct and sure that the driver is a Madurese they are putforward coherent answers he has made eventhough ofbusiness of thewhole in Indonesian, the languaae phenomenon may happen amongJavanese Indonesian. A similar The higher participants involvingin a social interaction. Ngoko or plain Kramalevel of status person switches into status person uses Javanese fromIndonesian while the lower he is able to, orcontinues in Krama with honorific terms if a similar phenomenon Indonesian. AmongChinese descendants participants have to be more might happen also, but the spoken to is a careful, such as they aresure that the person of East Java. Such a Chinese descendantwho is resident

18 of Indonesiar caution has to be taken because the variety Java may not bewell common toChinese descendants of East understood by Chinese descendantsof other areas.Descendants instance, mostly speakgood of Chinee in WestJava for in addition Sundanese, the indigenouslanguage of the people, of Central Java to Indonesian, whileChinese descendants in addition mostly speak Central Javanesedialect pretty well

to Indonesian. . codeswitching In ludruk performances bothcodemixing and instance, a are well represented.In "UnfaithfulBaseman" for when talking to a Javanese young man uses .reciprocalKrama closer and the Javanese young woman. Tomake the relationship uninhibited the young man conversation more interesting and She agrees invites the young woman tocodeswitch into Ngoko. in Ngoko.,In the idea and sincethen they communicate is able to "Finding one's match" aMadurese youngwoman who young manin Krama speak Javanesewell addressesa Javanese is a Madurese with Madurese accent. Noticing the addressor of Maduresewords. the addressee answers in Krama with lots and codemixes in The Madurese woman is a bit surprised utterances inMadurese she Madurese. After finishing some man, d.:ring the continues addressinghim in Krama. The young into Ngoko, particularly conversation, oftencodeswitches comments on certain when hedescribes himself and gives expressing her happiness, things. The young woman, when as iftalking giving comments anddescribing something,thus

19

21 to herself she codemixes the Krama with Madurese.Later when they find out that they happen to beof the some profession, into i.e. artists in some way or another they codeswitch Nooko..Since then they communicate in Nooko comfortably.

In the example above there are ampleinstances in which while communicating in Krama a character my.codeswitch into Nooko, especially when the characteris talking to oneself or

when one is giving comments or ideasin which essentially one

is actually talking to oneself. Such a thing happens in "Unfaithful Baseman" where a housewifewhile talking in Krama

to a new acquaintance, whenshe is commenting on the wages of

certainworkers nowadays, orwhen talkingaboutfamily problems, which in a way is more addressed to herself rather

than to other parti-cipants 'in the conversationcodeswitches into Nooko. That way she hasjust codeswitchedfrom Krama to

Nooko. Laterwhen she talks directly to the newacquaintance

she used reciprocal Krama .igain. Quite some time later, however, when the newacquaintance agrees to work for her, new she codeswitches into permanent Nonko. While the

acquaintance remains to use theKrama, the expected code directed to his superior. In"Unfaithful Baseman" two friends

are chatting and joking in Nooko, but when one of them asks the other about how to preservethe fertilityof apiece of landtheother thinks that it is meant foranother joke. The speaker, however, isserious about his question, therefore he

codeswitches his speech 'intoIndonesian, the language of 2022 seriousness and sophistication, andexplains howto preserve and gives some fertility himself. The other person listens comments in Indonesian. When they finish the explanation, expected code among however, they switch back into Nqoko the Javanese to indicate a closerelationship. When people of different ethnicitieswitheach having a same group get different code to use among membersof the people become constantcontactswith one another, these different shades conscious of the differentcodes and their

of meanings when they areused in a social interaction. formal situation Indonesian for instance is commonly used in in many while Madurese and Javanese areused informally a Madurese places outside the offices. When a Javanese uses and takes to a Madurese addresseethe latterfeels honored when the Javanese the hintas friendly gesture, especially as above, speaks good Madurese. In a mixed community other group, therefore, individuals learn thelanguage of the master the sometimes with a great success butvery often minimally just enoughto get other language passively, or individual masters along in simple conversations. When an consciously or some codes pretty well he might codeswitch any of unconsciously according to thefactors that call for nothingmakes him them. In an informal situation when good friend in uncomfortable, such as when heis talking to a start with one a quite relaxed waysuch an individual may he uses a phrase a code then in themiddle of his speech

21

23 clause or some lexical itemsbelonging to another code, then later he finishes the utterance in the samecode that he has started before. In the available ludruk performances such a phenomenon isexemplified in "Findina one's match" where a

Madurese young woman who are able to speak Indonesianand Javanese pretty well on top of her Madurese mother tongue, meets aJavanese young man for the first time. Inreal life, however, they are colleaaues who knowanother very well. On stage they have to play an interesting part where two young people of different sexes meetaccidentally, attracted to one another and fall in love. On the scenethe woman is surprised

by a sudden presence of a good looking young man. She

addressees him in Krama Javanese. Noticina the Madurese accent he answers in Krama butusing a Madurese term of

address indicating familiarity and closeness. His way of regarding her attracts her very much and makes her feels

uninhibited and free to communicate with him. She uses Madurese expressions and also Naoko utteranceswhen she gives

comments about him and abouther feelings toward him directed

to the audience and herself. The young man, on the other

hand, uses only Naokoto convey similar messaaes. Later she asks his name inMadurese which is not quite understood by

him and asks her to translate it into Indonesian. Sheagrees

and since then she often codeswitchesfreely from .Krama to

Ngoko, then tc Indonesian and Madurese, probably toindicate

her mixed feelinas. When she asks him what his name is he

22 because she knows answers jokingly "Rossi Itali". She laughs expresses her quite well that he is'pullingher leg, and of Indonesian disbelief in a codemixed utterance consisting she is mixed with Ngoko words. Whenhe reveals hisreal name ludruk, star who exited and happy because he happens to be a invites has lots of fans including herself. She immediately and friendliness him to use Ngoko, the code of closeness Javanese verywell. among Javanese andthose who understand expresses itin When she reveals that secretto him she again mixed with a codemixedutterance consisting ofNqpko Javanese codemixas betwe3n Indonesian words at t.r.e end.Latr- she also guide" the guide, Ngoko and Madurese. In"Kartolo the tourist tourist, a Javaneseyoung a Javanese young man, meets a dialogue, theexpected woman. Theybasically use Krama in the however, switchesinto language for strangers. Each of them, forward one's ownidea Ncloko when they givecomments and puts directly to as if talkingto oneself. When eachof then talks comments the the addressee Kramais used again. When giving Indonesian and guide alsocodemixes hisexpressions between almost the samething. Ncloko Javanese. Laterthe tourist does

Conclusion

cassettes include Thecodes found in the available and Madurese.Javanese Indonesian, Kramaand Nqoko Javanese, because these is the language used the most, particularly people of East ludruk performances are meant for the common

2 3

25 Java which consistsof mostly Javanese. Madurese is also well represented in the cassettesbecause there are a small number the of Madurese actors and actresses involved in performances.

Naoko Javanese is the most used code because the episodesmostly concern commonevents involving friends, acquaintances, neighbors and members of families who in reality also use Naoko most If thetime. Plain Krama is the

nextfrequently usedcode because it is the code commonly used to show little respectto people of slightly higher in new status, older in age and also to strangers and acquaintances. Kramawith honorificterms indicating high respect which is commonlyused by well educated people is not frequently found because thescenes in the episodes do not frequely call for it. A aood example for it takes place to her when a well educated bride-will-be is talkina

prospected parents-in-law. One of the reasons for not beina

used even in reality is that Kramawith honorific terms

symbolizes distant and formality as well. While peopleof East Java in general are more informal andmore open in

nature compared to Javanese of Central Java. Another reason

is that Javanesefamilies usemostly Ngoko at home, even

between children and parents, so that Krama and especially Krama with honorifics are not inculcated in the average Javanese homes/in East Java.

Coming next in the orderof frequently used code is

24 26 of this codeon stage Madurese. The less frequent use in East Javanesesociety represents proportionately its use outside theMadurese on the average,particularly the areas only one character heavily populated areas. Inthe episodes Javanese. In other episodes is supposed to know verylittle The Indonesian andJavanese well. theMaduresespeak also important thing by the inclusion of this codeis felt as an stories can beregarded producers. Mainlybecause most of the almost silly things dominate as comedieswhere funny and the audience, mostly Javanese, every scene. Among the

Madur ac.cent cln represented code in the whole Indonesian isthe least scene that thereis hardly any collection, mainly because The situationaluse calls for thedominant use of thiscode. scenes happenswhen asecurity of Indonesian in oneof the lit place. in a poorly guard addresses a youngcouple closely theyswitch However, when they look each other more to be because they happen almost immediately into Ngoko is foundfrequently in neighbors. Indonesian in the episodes pride and . to indicate metaphorical codeswitching

sophistication. and vic.:e versaare Codeswitching betweenKrama and Nqn1,...-) mainly because the very Frequentlyfound in the episodes, life. friends intheir daily characters are colleagues and and part in the scenes They often forget theirexact To them,and also therefore often misuse the expected code.

25

7 to the audience this error is found interestina because it may create funny thinas which are wellexcepted primarily by the audience. The nature of theactors andactresses as well as the choices of the stories enable many of them codemixe their utterances in many occasions. the In conclusion ludruk performances reflect communicative code choices of East , mainly the common people.

26 28 REFERENCES,

Books Consulted

with words. NewYork: Austin, J.L. 1965.How to do things Oxford UniversityPress. social mirror. Rowley, Chaika, Elaine. 1982.Language, the Mass: NewburyHouse. Basil Fasold, Ralph. 1990.Sociolinguistics of Language. Blackwell Inc.Cambridge USA. Sosiolinguisticsof Society. Basil. . 1984. The Blackwell Inc.Cambridge USA introduction. Fishman, J. 1970.Sociolinguistics:a brief Rowley, Mass: NewburyHouse. 1982. Life with twoLanguages: An Grosjean, Francois. University Press. Introduction toBilingaulism. Harvard identity. Gumperz,J.J. (ed.)1982. Language and social Cambridge: CambridgeUniversity Press. strategies. Cambridge:Cambridge . 1982. Discourse Universi.ty'Press. eds. 1972. Directionsin socio- . and Dell.Hymes, linguistics. New York:Holt, Rinehart,Winston.

f t Foundation insociolinguistics: An ethno- Hymes, Dill. 1974. of graphic approach.Philadelphia: University Pennsylvania Press. Fanshel. 1977.Therapeutic discourse: Labov, W. and'David Academic Press. Psychotherapy,asconversation. Orlando: Cambridge Levinson, S.C..1983.Pragmatics. Cambridge: University Press. DiscOurse Analysis:The sociolinguistic Stubbs, M. 1983. The U. of Chicago analysis of naturallanguage. Chicago: Press. competition. Basil Wardhaugh, Ronald.1987. Languages in blackwell. New York.

27 ?9 APPENDIX 1 An example of dialoguetaken from "Findino one's match", M (Marlena) a Madurese young womanand K (Kartolo) a Javanese young man.

M. Aja lok-meloksampiyan oak kenal-kenal. (in Krama) "Don't interfere, you don'tknow me." (in Krama) K. Mboten, Buk. "No,Sister." (in Krama) M. Lho sampiyan wongJawa? "Are you Javanese" wis ketara, Dik. 'You can be sure from M. Lho ndelok modele the look, youknow.' (in Nooko) .'Wearing big K. Binggelan, seweke nggakath-ik kendhit,

anklets, the batiquewithout a belt, ' (in Ngoko)

M. Iya dik, enak,dik 'Sure. it's comfortable, you know.'

(N) 'Wearino too short a blouse.' (N) K. Klambine cinokrang.

M. Nguranoi bahan, Kak.'That way you don't need much material, you now, Brother?' (N)

K. 0, nooten a? 'Isthat so?' (K)

M. Klambine iki cingkrang,cukup setengah meter, seweke semeter, wis gakathik biaya keh-akeh, dik.'A Short

blouse, needshalf a meter only, the sarona needs a

meter.' (N)

3 ) lorek kaya tekek. K. Iki suwe-suwemblakrak iki. Klambine sillier. The 'The longer thisconversation becomes the

blouse is stripedlike that of a gecko.'(N) dik ya? 'Don't say so.brother.' M. Aduh ja ngono peno ya

(N)

'Are you still single, M. E, Mas sampiyansik lancing nggih? brother? (N.Underlined Madurese) 'I don't know whatshe is saying.' K. Iki ngomong apaiki.

(N) ngocak Madura, Beenkik lancing, dik?. M. Kik lancing. Mun "Are you still 'Still single. InMadurese we say: single?", you know.'(In Madurese) napa? 'What doesit mean in Javanese?' K. Nek cara Jawane

(K) ngoten lho.'Unmarried, you know.'(K) M. Niku kik jaka,

'What's your name?' (K) K. Asmane sinten? Indonesia, namanyasiapa? 'In M. 0, kalau bahasa Indonesian, "What's yourname?".' (In Indonesian)

aku wis tahu weruh.'You're Javanese. K. Sampeyan wong Jawa, Ngoko) I've seen youonce.' (K, underlined ini pur campur dik.'With me, you know, I M. Lho nek saya (Ind., underlinedJavanese) can speakseveral languages.'

29 31 M. Nami sampiyan sinten se? 'What's your name?' (K)

K. Nami kula, Rossi Itali. 'My name is Rossi Itali." (K)

M. Waduh, Rossi Itali. Gak masuk akal, wonge oepeng ngono. 'Wow, Rossi ItLli, imposible, you know, too skinny (K)

Rossi Itali itu oranonya, aduh demr)al, cede, diukur,

moon°. Rossi Itali, the auy is tall and big, you know.' (ind.

underlined Naoko)

K. Mboten, Kartolo. `No, Kartolo.' (K)

M. Lho peno Kartolo iku, aduh, kak.'So you are Kartolo.'

(N)

M. Kula ngeten ngaih. Wis nqqak basa mari.It's like this. Let's not use Krama any more.' (K, theunderlined N)

K. Wis gak usah wis pada loreke.'Let's not. We are in the

same boat.' (N)

32