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The Communicative Code Choices in Ludruk Performances

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The Communicative Code Choices in Ludruk Performances DOCUMENT RESUME ED 362 026 FL 021 486 AUTHOR Kartomihardjo, Soeseno TITLE The Communicative Code Choices in Ludruk 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 *Indonesia (East Java); 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 East Java 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 Islam 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 central Java 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
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