Women Archetype Characters and Motifs in Three Indonesian Folk Tales

Passage2013, 1(1), 21-30

Riska Karina Rosliana* [email protected]

* Riska graduated in December 2012 from Literature Major at English Language and Literature Study Program, Indonesia University of Education, Bandung

ABSTRACT

This study entitled Woman Archetype Characters and Motifs in Three Indonesian Folk Tales has three aims: 1) to identify the description of woman archetypes in Indonesian folk tales in term of the characters and motifs employed in the tales; 2) to investigate the representation of woman archetype of Indonesian folk tales with references to European folk tales; and 3) to make meaning from the comparison between Indonesian folk tales and their European counterpart. The study employs qualitative study with the content analysis approach. The analysis of the study is framed within the theory of archetype characters in literature proposed by Jung (1961), and the theory of archetype motifs in folk literature by Thompson (1955- 1958). The fact that Indonesian women are presented to be more assertive and independent than their European counterpart rejects the stereotyped view of Indonesian women as submissive and dependent women.

Keywords: woman, archetype, character, motif, folk tale

Riska Karina Rosliana Women Archetype Characters and Motifs in Three Indonesian Folk Tales

A. BACKGROUND the meaning constructed from the comparison. It is assumed that oral tradition is the reason that makes typical tale B. THEORETICAL which narrates a story of an orphan FOUNDATION girl who is mistreated by her The theory of the archetype was stepmother and stepsister and helped introduced by a Swiss psychologist by a prince charming or a fairy named Carl Gustav Jung in his work godmother is found across culture. entitled Archetypes and Collective Many studies conclude that stories like Unconsciousness (1961). Jung Cinderella are found worldwide not proposes a term called as ‘collective only with the same general framework unconscious’ or “inherited in the from beginning to ending, but also structure of brain” (Jung 1962, as cited varied at the same (Cox’s (1893), in Huck et al 2004, p. 236). Simply Propp (1958), Thompson (1958), put, collectitive unconcious can be Aarne and Thompson (1961), and understood as the universal images of Sierra (1992)). This study focuses on certain thing that people have as their woman archetypal character and motif basic consideration to take action. It is in Indonesian folktales and the believed that these universal images comparison of them with the European bring similar universal values which counterparts. The purposes of the are once manifested in the recurrent study are to find the archetypal characters in mythology, folklore, or characters and motifs of woman in literature in the form of archetype. For Indonesian folk tales and to identify instance a well-known Greek myth of the similarities and differences of Oedipus which highlights the story of motifs and characters of woman mother-son incest is found across archetypes between Indonesian and cultures with quite a similar viewpoint, European folk tales in order to draw that mother-son romantic relationship is banned and completely

Passage2013, 1(1), 21-30

unacceptable. Jung’s concept in character of mother is often associated archetype and collective unconscious to the role of mother as the child theories is not only applied in bearer and care taker for her children. psychological field, but also literary The second woman archetype is the studies such as characters and motifs. maiden. According to Jung, the archetype of the maiden in a story is The research on archetype often described as desirable and pure characters and motifs have been young woman. The maidens are often conducted by many researchers such depicted as the beautiful, pure, and as in the work of Cox’s (1893), Propp desirable by man. Eisendrath (1999) (1958), Thompson (1958), Aarne and argues that most of the heroines of Thompson (1961), and Sierra (1992). children’s stories like Cinderella, Those studies are produce one general Snow White, Sleeping Beauty, and premise that all tales have similar Beauty and Beast are maidens. The ‘blueprint’ with some modifications third archetype is called the wise old in which makes them varied, but remain which Jung describes as a spiritual the same. archetype in disguise who is protective Jung identifies five archetype and representing wisdom. The wise old characters in mythology, folklore, and man or woman also gives the aids to literature namely the mother and her the hero or heroine to complete the counterpart the maiden, the child quest or test. Jung describes the (including the child hero), the hero, archetype character of the child in and the wise old man or woman (Jung fiction as the naïve and inexperienced 1969, cited in Garry and El-Shamy who often be fooled by his or her 2005, p. xvi). The archetype of mother naïveté. They go through the process in fiction seems to be related to the of individuation, just like the hero. The natural characteristics of a mother last archetype, but not the least, is the which are nurturing, soothing, and heroine which is exposed for her role nurturing. Therefore, the archetype as the rescuer for their own life or

Riska Karina Rosliana Women Archetype Characters and Motifs in Three Indonesian Folk Tales

other’s life. The character of the hero Thompson’s Motif-Index in Folk often goes through the quest or leaving Literature (1932-1936) which is the home to gain maturity. Jung (as enlarged by The American Folklore cited in Garry and El-Shamy 2005) Society (1955-1958). The works are in uses the term of individuation to the form of classification and describe the stages when the hero codification of narrative elements in (mostly the child or the young adult) folklore including folk tales, ballads, goes through the quest to be more myths, fables, and so on. distinct and independent. The examples of Thompson’s One prominent study of archetype Motif-Index classification and motifs in folklore is the work of Stith codification system are as follows:

H. Test H0 --- H199. Identity Test: Recognition

H0. Identity Test

H10. Recognition to common knowledge

H20. Recognition by resemblance

H30. Recognition through personal peculiarities

H50. Recognition by bodily marks or physical attributes

H51. Recognition by scar

H51.1. Recognition by birthmark

H200. --- H299. Test of truth

H1570. --- H1599. Miscellaneous test

Passage2013, 1(1), 21-30

In this study, the Thompson’s and establish woman archetypes and codification is used to identify the motifs of Indonesian folk tales. structure or plot of the data from each D. DISCUSSION Indonesian folk tales and its European counterpart to be compared as the The study shows that the archetype basic archetype analysis. characters in Indonesian folk tales are presented by the archetypes of the C. METHODOLOGY mother, the wife, the maiden, the child The study employs qualitative heroine, and the wise old woman. The study with the content analysis data show that the archetype characters approach. The data are analyzed of the mother, the wife, and the child through several steps. First, the woman heroine are against the characteristics characters are classified into major of women archetype of the European woman archetypes in folk literature counterpart as proposed by Jung. For proposed by Jung. Second, the example, the archetype character of the classified women characters are mother in Indonesian folktale are identified and with reference to the presented in a more indifferent and established pattern of archetypal non-nurturing manner. characters and motifs by Thompson as “’You wretched, the codification basis to see the ungrateful son!’ said structure or plot of each Indonesian Dayang Sumbi as she hit tales and European tales. These Sangkuriang in the codification units are also used to forehead with her spoon. identify the cross-culture comparison Sangkuriang was between Indonesian and European folk wounded and bleeding”. tales which finally concluded to find (Samsuni, 2011:113)

Riska Karina Rosliana Women Archetype Characters and Motifs in Three Indonesian Folk Tales

What seems to be put forward by because he was born here this event is the idea of educating the on earth”. (Sugiura and children how to respect their parents, Honda, 2001: 9) particularly how a son should be Another archetype character in this respect his father. In fact, this scene is study is presented through the memorable and important because it characters of the wife. Like the triggers the story to develop. It archetype of the mother, the qualities indicates Dayang Sumbi’s role as a of the wife are also different from mother who passes the moral and Jung’s archetype theories. In social value to her son, that a son must Indonesian folktales, the wife is not not kill his father. Besides, this event characterized as inferior to her is one of factors which made Dayang husband. It is shown for example: Sumbi character is not clearly perceived as a nurturing mother. ‘You opened the lid. You did the one thing I The data also show that Nawang asked you not to do’. ‘If Wulan as the second archetype mother my powers are seen by a of the data gives up her son and leaves mortal being like you’, him with his father in the earth without she explained sadly, much regret described in the text. This ‘then they disappear’”. event indicates that Nawang Wulan is (Sugiura and Honda, a selfish mother because she chooses 2001:8-9) to abandon her son when she has the choice to stay and live with her son in In spite of showing the earth. submissiveness in front of her husband, Nawang Wulan shows her “’I am going back,’ autonomous attitudes when she she (Nawang Wulan) said decides to leave as she discovers to her husband. But I that her husband is untrustworthy. can’t bring our child,

Passage2013, 1(1), 21-30

The similar tendency also appears for the two of them”. in the archetype character of child (Sugiura and Honda, 2001: heroine of Bawang Putih in the tale of 26) Bawang Merah Bawang Putih. Compared to her companion, Bawang Putih’s characterizations Cinderella, Bawang Putih goes change as the tale reaches its through the process of individuation complication. Bawang Putih becomes described by Jung (Jung, cited in strong, courageous, and active. She Garry & El-Shamy, 2005). Bawang goes through the quest for Bawang Putih leaves the home and goes Merah’s clothes which leads her to the through the quest in search of adventure. Although the text informs Bawang Merah’s clothes. She faces that the changes on Bawang Putih’s some obstacles like she has to ask traits is driven by her fear to her the cattle farmer and horse rancher stepmother and stepsister. for the direction. She also has to Nevertheless, the text indicates that face the strange old woman and do she is fighting for her life, freeing the favors from her. Bawang Putih herself from fear, facing the eerie old can conquer her fear and woman, and changing her own life, uncertainty. Her good nature helps unlike Cinderella who is passively her to pass the test She gains the waiting for the prince to find her and pumpkin with full of treasure inside change her fate. The changes of as the reward for her generousity. Bawang Putih’s character traits are constructed through text, for example: E. CONCLUSION

“It felt very strange and The study showed that through eerie inside. But Bawang their archetype character, Putih somehow found the Indonesian women are presented as courage to clean the rooms more active and assertive compared and help to prepare a meal to their European counterparts who

Riska Karina Rosliana Women Archetype Characters and Motifs in Three Indonesian Folk Tales

are submissive and passive. These Wanted. New York: Three facts reject the stereotyped views of Rivers Press. Indonesian women as passive, Garry, J., & El-Shamy, H. (2005). submissive, and unattractive Archetypes and Motifs in women. The data showed that Folklore and Literature A Indonesian folk tales are more Handbook. New York: M.E feminist than their European Sharpe. counterparts in a way they construct women characters to be more Gay, L., Mills, G. E., & Airasian, P. independent apart from the men (2006). Educational Research: partnership. Competencies for Analysis and Applications Eighth Edition. BIBLIOGRAPHY New Jersey: Pearson Cox, M. R. (1893). Cinderella: Three Education, Inc. Hundreds and Forty-five Heiner, Heidi Anne. (2007). The Variants of Cinderella, Annotated Swan Maidens. 23 Catskin, and Cap O' Rushes, August 2012. from Abstracted and Tabulated with http://surlalunefairytales.com/s a Discussion of Medieval wanmaiden. Analogues, and Notes. London: The Folklore Society. Huck, C. S., Kiefer, B. Z., Hepler, S., & Hickman, J. (2004). Eiland, T. (2002, January 26). Children's Literature in the Retrieved March 23, 2012, Elementary School. New York: from Eiland's Online English McGraw Hill. Materials. Jerrard, J., Killion, B., Quattrocki, C., Eisendrath, P. Y. (1999). Woman and Ellis, T., Nilles, B., Salvati, J., Desire: Beyond Wanting to Be et al. (2007). Library Classics:

Passage2013, 1(1), 21-30

Treasury of Bedtime Stories. the Literature. Journal of Lincolnwood, Illinois: Divorce and Remarriage (30) , Publications International, Ltd. 115-148.

K, D. (2010). Cerita Rakyat Nikolajeva, M. (2002). The Rhetoric of Nusantara. Jakarta: PT Bhuana Character in Children's Ilmu Populer. Literature. Lanham: Scarecrow Press, Inc. Klarer, M. (1998). An Introduction to Literary Studies. London: Nodelman, P. (2008). The Hidden Routledge. Adult: Defining Children's Literature. Baltimore, Krippendorff, K. (2004). Content Maryland: Johns Hopkins Analysis: An Introduction to Its University Press. Methodology Second Edition. California: Sage Publication Peck, J., & Coyle, M. (2002). Palgrave Inc. Key Concepts Literary Terms and Criticism (3rd Edition ed.). Madran, C. Y. (2004). An Archetypal New York: Palgrave Analysis of E. M. Forster's Macmillan. Fiction. Propp, V. (1984). Theory and History McCabe, J., Fairchild, E., Grauerholz, of Folklore. Minneapolis: L., Pescosolido, B. A., & Tobe, University of Minnesota Press. D. (2001). Gender in Twentieth Century Children's Book: R.G. Collingwood edited by David Patterns of Disparity in Title Boucher, W. J. (2005). The and Central Characters. Sage Philosophy of Echantment: Publication , 199. Studies in Folktale Cultural Criticism and Anthropology . Nielsen, L. (1999). Stepmother: Why so much stress? A Review of

Riska Karina Rosliana Women Archetype Characters and Motifs in Three Indonesian Folk Tales

New York: Oxford University Literature. New York: Garland Press, Inc. Publishing, Inc.

Samsuni. (2009). Sangkuriang: The Sugiura, K., & Honda, K. (2001). Legend of Mount Tangkuban Asian Folktales Retold: Parahu. 30 Juni 2012. from Indonesian Tales of Treasures www.ceritarakyatnusantara.co and Brides. California: Heian. m. Thomas, R. M. (2003). Belnding Sierra, J. (1992). The Oryx Qualitative and Quantitative Multicultural Folktale Series: Research Method in Theses Cinderella. Westport, CT: and Dissertation. California: Oryx Press. Corwin Press.

Society, A. F. (1968). Vladimir Thompson, S. (1955-1958). Motif- Propp:Morphology of the index of folk-literature : a Folktale. classification of narrative elements in folktales, ballads, Stephens, J., & McCallum, R. (1998). myths, fables, mediaeval Retelling Stories, Framing romances, exempla, fabliaux, Culture: Traditional Story and jest-books, and. Bloomington: Metanarratives in Children's Indiana University Press.