LANGUAGE VARIATION: REGISTER AND ACCENT IN AND DRAMA PERFORMANCE

Frimadhona Syafri Semarang State University Email: [email protected]

ABSTRACT

Language and culture are inseparable. When people communicate to one another, they take their culture in communication; they may use the same language, but differences in accent show their register. Language variation covers distinctions in pronunciation, grammar, or word choice within a language. It includes register and accent. This concept is reflected in the performance of Ken Arok and Ken Dedes. In the performance, the register described a group of people and their roles in the community. It is interesting to analyze English with Javanese accents and register in the drama performance. In this performance, speaking English with Javanese accent does not reduce the traditional values of .

Key words: language variation, accent, register.

INTRODUCTION The king of Kingdom in East This paper is an analysis of language , Kertajaya thought himself as a deity, variation: register and accent consisted in and he was opposed by the Brahmana a Drama Performance Ken Arok and Ken (priests) caste. When threatened by the Dedes. Before analyzing the data, it is king, the Brahmanas ran to Tumapel and better to know what the legend is aboput. asked its ruler, Ken Arok, for his protection. Ken Arok (or Ken Angrok) (died c. Ken Arok thought that Kediri army would 1227) was the founder and first ruler of attack his territory, and ordered his troops the Kingdom, an ancient Hindu- to fortify. Kediri army came to Tumapel as Budhist kingdom in the area Arok was expecting. The Battle of Ganter, of . He was considered as the was the end of , then Ken founder of Rajasa Dynasty of both the Arok settled his own empire, Singosari. Singhasari and line of Ken Arok proclaimed himself as the monarchs. He came from humble origin son of . Historians have argued about but subsequently rose to be one of the Ken Arok’s new dynasty because his origin most powerful rulers in Java. His life was was not clear. Who is he? Why was he colored with adventures, treacheries, and able to found a kingdom? Did he have a tragedies. dark past? After Kertajaya fell from power, the Kediri Kingdom was ruled by Tunggul

LANGUAGE CIRCLE Journal of Language and Literature Vol. VII/2 April 2013 17

Ametung. He had a very beautiful wife, decided the revenge. At the 21th year of Ken Dedes. A statue in Leiden Museum, ’s rule, Tohjaya invited Anusapati Netherlands, shows Ken Dedes as for gambling, and when Anusapati was Prajnaparamitha, the Goddess of Wisdom. having fun, Tohjaya killed himi, again with One day Ken Arok accidentally saw Ken Mpu Gandring’s keris. After Anusapati’s Dedes, then a wind hiked her gown. death, his son Ranggawuni wanted the Suddenly Ken Arok got a vision, that he throne. Tohjaya sent Lembu Ampal to had to have Ken Dedes as his wife, at any attack Ranggawuni and his companion, risk. Ken Arok decided to kill Tunggul Mahesa Cempaka. Lembu Ampal realized Ametung. He ordered a “keris” (a sacred that Ranggawuni was the right person to short sword) to a priest, Mpu Gandring. It be the king, and they fought against took a long time to make a “keris” because Tohjaya. Tohjaya was killed with Mpu it is only an enlightened priest that could Gandring’s keris. Ranggawuni and Mahesa make it, and they had to do some rituals Cempaka realized that Mpu Gandring’s for that. Ken Arok was impatient to wait for keris would only make chaos and death, so the keris to be ready. His lust to Ken they threw the keris to the Java Sea. Dedes was growing bigger and bigger. He According to the Legend, the keris turned came up to Mpu Gandring to ask if the to be a dragon. (Source of History of Ken keris was completed. When Mpu Gandrig Dedes and Ken Arok: http://fummo. said “not yet”, Ken Arok killed him with that wordpress.com/) incompleted keris. Before he died, Mpu One of the interesting parts of the Gandring cursed the keris. drama performance of Ken Arok and Ken Later, Ken Arok lent the keris to a petty Dedes is the language used by the actors criminal Kebo Ijo who was so proud that he and actresses in the drama. Even though showed the keris to everyone. At night, they used English in conversation or Ken Arok stole the keris, and he dialogue performance, they did not leave successfully killed Tunggul Ametung. Kebo the register and accent of Javanesse Ijo was framed as the killer, but before he language. It reflects the Javanese culture. could talk, Ken Arok killed him with the It is very interesting to analyze how the same keris. actors and actresses use language In the 5th year of his reign, a man variation in the context. Before discussing called Anusapati wanted the throne of the data, it is better to talk about some Singosari from Ken Arok. The latter had terminologies that are related to the study. abandoned Mpu Gandring’s keris but Anusapati killed him with that weapon JAVANESE LANGUAGE instead. Ken Arok had a concubine named Javanese language (Javanese: basa Ken Umang, and their son, Tohjaya Jawa, Indonesian: bahasa Jawa) is the

18 LANGUAGE CIRCLE Journal of Language and Literature Vol. VII/2 April 2013 language of the from the Front Central Back central and eastern parts of the island i u of Java, in Indonesia. The Javanese language is part of e ə o the Austronesian family, and is therefore a related to Indonesian and other Malay language varieties. Most The vowels /i u e o/ are pronounced [ɪ ʊ ɛ speakers of Javanese also speak ɔ] respectively in closed syllables. In open Indonesian for official and commercial syllables, /e o/ are also pronounced [ɛ purposes and to communicate with non- ɔ] when they are followed by the vowel /i Javanese Indonesians. u/ in an open syllable, or /ə/, or identical (/e...e/, /o...o/). The main characteristic of Phonology the standard dialect of is that /a/ is pronounced [ɔ] in word-final open The phonemes of Modern Standard syllables, and in any open penultimate Javanese include Vowels and consonants. syllable before such an [ɔ]. Dental/

Labial Retroflex Palatal Velar Glottal Alveolar

Nasal m ɳ ɲ ŋ

Plosive/Affricate p b t d ʈ tʃ d k ʔ

Fricative ʂ h

Central ɽ j w

Approximant

Lateral ɭ

The Javanese voiced phonemes are not in the following type: nCsvVnCsvVC. As in fact voiced but voiceless, with breathy other Austronesian languages, native voice on the following vowel. In The Javanese roots consist of two syllables; sounds of the world's languages, the words consisting of more than three distinction of phonation in the plosives is syllables are broken up into groups of bi- described as one of stiff voice versus slack syllabic words for pronunciation. voice. A Javanese syllable can be of the Politeness following type:[clarification needed] CSVC. Javanese speech varies depending on C=consonant, S= sonorant (/j/, /r/, /l/, /w/ or social context, yielding three distinct styles, any nasal consonant) and V=vowel. In or registers. Each style employs its own Modern Javanese, a bi-syllabic root is of vocabulary, grammatical rules and

LANGUAGE CIRCLE Journal of Language and Literature Vol. VII/2 April 2013 19 even prosody. This is not unique to The most polite word of eat is "dhahar". Javanese; neighboring Austronesian lan- But it's forbidden to use any most polite guages as well as East Asian languages word for self expressing, except when such as Korean and Japanese share talking with lower status people, and in this similar constructions. case, ngoko style is used. The use of most In Javanese these styles are called: polite words are only for expressing other, especially upper status people, like shown (1) Ngo ko is informal speech, used bellow. between friends and close relatives. It . Mixed: is also used by persons of higher . (Honorific - Addressed to someone status to persons of lower status, such with a high(er) status.) Bapak as elders to younger people or bosses kersa dhahar? (Do you want to to subordinates. eat? Literally meaning: Does father (2) Madya is the intermediary form want to eat?) between ngoko and krama. An . (reply towards persons with lower example of the context where one status, expressing self would use madya is an interaction superiority) Iya, aku kersa between strangers on the street, dhahar. (Yes, I want to eat). where one wants to be neither too . (reply towards persons with lower formal nor too informal. status, but without having the need (3) Krama is the polite and formal style. It to express one's superiority) Iya, is used between persons of the same aku arep mangan. status who do not wish to be informal. . (reply towards persons with the It is also the official style for public same status) Inggih, kula badhé speeches, announcements, etc. It is nedha. also used by persons of lower status to persons of higher status, such as The use of these different styles is youngsters to elder people or complicated and requires thorough subordinates to bosses. knowledge of the Javanese culture. This is one element that makes it difficult for Below are some examples provided to foreigners to learn Javanese. On the other explain these different styles. hand, these different styles of speech are . Ngoko: Aku arep mangan (I want to actually not mastered by the majority of eat) Javanese. Most people only master the . Madya: Kula ajeng nedha. first style and a rudimentary form of the . Krama: second style. People who can correctly . (Neutral) Kula badhé nedhi. . (Humble) Dalem badhé nedhi.

20 LANGUAGE CIRCLE Journal of Language and Literature Vol. VII/2 April 2013 use the different styles are held in high in the same day. Typically, the language esteem. we use when we write is different from the Pronunciation language we use when we speak, the Most Javanese people, except those who language students use to write literature live in West Java, accept the pronunciation essays is different from the language used to write linguistics or science essays, and of the phoneme "a" as /ɔ/. Therefore, there is a different pronunciation of many words; the language we use in formal situations for example apa (Eng.=what) is like lectures and seminars is different from the language we use when chatting to pronounced /apaʔ/ in Western Javanese friends in the coffee bar. This kind of and /ɔːpɔː/ in Central and Eastern language variation, which can vary from Javanese. minute to minute in the same day is usually When there is a condition of phoneme called register. stem VCV (Vowel-Consonant-Vowel) with Register can vary according to the the same vowels, Central Javanese three main ways. Medium ('mode'): Your speakers drop the second vowel into language changes according to the another sound, with the following formula: medium used ( 'the language of speech', "i" becomes /e/ and "u" becomes /o/, the 'the language of writing'). Domain ('field’): Easterns drop both of the vowels, whereas Your language changes according to he Western Javanese maintains the sounds domain that the language is related to. "i" and "u". So the word cilik (Eng.= small), This includes (a) the subject matter being is pronounced /tʃileʔ/ in Central, /tʃeːleʔ/ in spoken or written about ( 'the language of Eastern, and /tʃilik/ in Western Javanese; science', 'the language of law') and (b) the the word tutup is pronounced /tutop/ in function that the language is being used for Central, /toːtop/ in Eastern, and /tutup/ in ( 'the language of advertising', 'the Western Javanese. language of government'). Tenor: The (en.wikipedia.org/wiki/Javanese_language, tenor of your language (e.g. how politely or para.2-4, 28 April 2011) formally you speak) changes according to

(a) who you are talking or writing to ( the DISCUSSION language we use when talking to close Language Variation: Register friends compared with that used when talking to strangers or people who are Language variation helps to distinguish socially distant from us) and (b) the social one person, or group of people from situation you find yourself in (a child whose others. But all of us are also involved in mother is a teacher will talk to her in another kind of language variation, which different ways, depending on whether they is much more rapid. We vary our language are at home or at school). from one situation to another many times

LANGUAGE CIRCLE Journal of Language and Literature Vol. VII/2 April 2013 21

The register is crucial in Javanese Analysis of the dialogue shows that language because it is related to use of mother actually loves and appreciates her complicated different styles that requires son even though, they are different age. In knowledge of the Javanese culture. When Javanese culture, a son has higher one talks about oneself, one has to be position than a daughter. The family will humble. But when one speaks of someone be proud if they have a son. It is related to else with a higher status or to whom one Javanese heritage that rails patriarchy. wants to be respectful, honorific terms are Medium ('mode'): mother used the speech used. Status is defined by age, social language to talk to her son, even though position and other factors. The humilific her son is still baby and doesn’t words are called krama andhap words understand what mother says. In this while the honorific words are called krama dialogue mother regards her son as adult inggil words. For example, children often who understand what she means. Domain use the ngoko style, but when talking to ('field’): mother uses spoken language that the parents they must use both krama has function of language is being used for inggil and krama andhap. hoping to gods in order to protect her son. The illustration of dialogues Ken Arok Tenor: The tenor of mother’s language and Ken Dedes Drama Performance how politely or formally she speaks. She describes the register that reflected variety prays to gods of honour in order to protect of Javanese language .The dialogues her beloved son. began with poor Ken Arok was thrown The dialogues of the drama away by his own mother. She put him in performance also reflects Krama ( the the cemetery, Left him only a murmur. polite and formal style) in Javanese Mother prayed he will be found by a kind langauge. It is also used by persons of person.Well, gods listened, gods listened, lower status to persons of higher status, but gods mistaken? such as youngsters to elder people or “Oh, my beloved son, please forgive subordinates to bosses. It is reflected by me, for there’s nothing I can give you. This the conversation between Lemong (Ken fate forces me to abandon you my son. I Arok’s step father and Ken Arok). Ken Arok will only give you a name, and prays. This used Krama and Lembong used Ngoko name will be written in history, I do believe language. that god in heaven will protect you. Lembong : Temu...come here!!!! Ken Remember my son; you are the son of Arok: Father? Lembong: Get the hell , though no one will believe that. there and fetch me some money I’ve lost You’ll be a great man. Ken Arok. Trust him; there. Ken Arok: No Father...I won’t do I know he has his own plan for you.” that!!! Lembong: Surely yes!!! Ken Arok: YES! Ups.. Please, I dont wanna be a

22 LANGUAGE CIRCLE Journal of Language and Literature Vol. VII/2 April 2013 sinner Lembong: Haaa...you won’t be a chief of Tumapel, and they are my servant. sinner if you obey your father’s order.Now Nobody will blame me because I’m the Go!!! king, the authority of this kingdom. KD: The illustration Ngoko and Krama Greeting my lord, but it is so impolite to language are also encountered the visit a maiden without any permission from conversation between Tunggul Ametung her father, right? TA: I was hunting in the (lord) and Kebo Ijo ( his commander). jungle. And accidentally I arrive at this place. Isn’t it our fate that has us meet. TA: We’ve been around this jungle from KD: What do you mean my lord? TA: Well the morning, but we still have I’m waiting for someone to be my Queen nothing. KI:Yes my lord, I’m afraid and I think that you’re sent to be mine.KD: we wouldn’t get anything here. Oh, I’m sorry my lord, I must refuse your TA:You are right. By the way, where invitation. I don’t know you, I don’t love you is Mantili? There is a hut here, who and I guess my father will not permit me to would live alone in this jungle? (his be your wife. I’m sorry. TA: Please think another BG)?? KI:Maybe, it belongs about it, my lady. The beautiful woman like to a hermit TA:A hermit???KI:Yes you don’t deserve to live in the middle of My Lord nowhere likes this. Be my wife! Company The use Madya language is happened in me in the luxurious, glamorous life! KD: I’m the conversation between Tunggul sorry my lord, I must decline. There is a lot Ametung and Ken Dedes before she to learn before someone becoming a great knows that Tunggul Ametung is a Lord leader, I’m still learning and I see you can’t teach me about this life. I’m a woman and TA: Hm… (thinking!)She is the one who I I’ll take a man who will become a good am looking for all this time. She’s the leader for me. TA:Hah! A thorn for your one who always comes to my rose like beauty...and I do agree with you if dreams, and she deserved to be you say that i couldn’t buy your love, but mine! “Beautiful sunshine blinds me. you’d be surprised in how easy to take it Beautiful sunshine that’s you my with my authority...muahahahahahahaha lady” Good afternoon, beautiful lady. KD:I’m sorry my lord, my obedience obey KD: Good afternoon stranger, but so the authority higher than yours. The sorry my father just left. authority that higher than the word Ken Dedes changes the using of her authority itself. TA:Ahhh!!! Enough with language becomes Krama after she knows your lecture!!! If you don’t want to be mine, the man is a lord. then nobody can. BG!!! Take him to the TA: Ahh…forget about your father my palace and burn this place!! I’ll force her to lady. My name is Tunggul Ametung, the marry me.

LANGUAGE CIRCLE Journal of Language and Literature Vol. VII/2 April 2013 23

In the dialogues above shows that (www.e.n. wikipedia.org/wiki/ accent. register is very crucial in Javanese para. 2, 26 April 2011) language. The differences in social status The accent of Javenese in the and age influence the variety of language. performance reflected Javanese culture. Eventhough, the illustration of the variety Although, the actor and actress used of Javanese language is not too clear in English, the atmosphere and condition of English that actor or actress spoke. The Javanese values could be felt through choice of words and using modality in stress and prosody while they spoke. English try to be representative of variety While making conversation, they use Javanese language. It is even felt when English with stress, prosody and intonation we heard the Javanese accents of the of Javanese. So , we could know the role actor or actress in speaking English. of the actor or actress in different age, social position (high or low status). Accent For example, when Lembong spoke to The use of accent Javanese language in his step son Ken Dedes. He spoke with English in the performance and high intonation, strong stress, and high emphasized the different styles of prosody shown his power as a father as language that use of Javanese people. older than Ken Dedes. The other way, Ken In linguistics, an accent is a manner Dedes spoke with low or middle intonation, of pronunciation peculiar to a particular fair stress, and low or middle prosody individual, location, or nation. An accent shows his humble. Moreover, Tunggul may identify the locality in which its Ametung also spoke with high intonation, speakers reside (a geographical or strong stress, and high prosody that regional accent), the socio-economic illustrated his superiority as a Lord. Thus, status of its speakers, their ethnicity, register and Javanese accent in English in their caste or social class, their first drama performance Ken Arok and Ken language (when the language in which the Dedes described the stratum of Javanese accent is heard is not their native society. language), and so on. Accents typically differ in quality of voice, pronunciation of CONCLUSION vowels and consonants, stress, and The literary works is data that could use to prosody. Although grammar, semantics, analyze language and culture of a region. vocabulary, and other language Through the language we know the culture characteristics often vary concurrently with and society of a community. The variety of accent, the word 'accent' refers specifically language of a community reflects stratum to the differences in pronunciation. of society. Learning literary works means learning language and culture of a society.

24 LANGUAGE CIRCLE Journal of Language and Literature Vol. VII/2 April 2013

Masyarakat dan Kebudayaan. Jakarta: REFERENCES Kesaint Blanc. Fromkin, V., R. Rodman, & N. Hyama. Trudgill, P. 1980. Sociolinguistics: An 2011. An Introduction to Language. Introduction. Victoria: Penguin Books Canada: Nelson Education,Ltd Ltd. McKay, S.L & N.H. Hornberger. 1996. Wardhaugh, R. 2006. An Introduction to Sociolinguistics and Language Sociolinguistics. Victoria: Blackwell Teaching. Cambridge: Cambridge Publishing Ltd. University Press. Yule, G. 1996. Pragmatics. Oxford: Oxford Mesthrie, R., J. Swann, A. Deumert, & University Press. W.L. Leap. 2000. Introducing Anonymous. Ken Arok Ken Dedes. Sociolinguistics. Edinburgh: Edinburgh Retrieved from http:// en.wikipedia. University Press. org/wiki/ Ken_Arok. Ohoiwutun, P. 2002. Sosiolinguistik Anonymous. Javanese Language. Memahami Bahasa dalam Konteks Retrieved from http://en.Wikipedia.org/ wiki/ Javanese_Language

LANGUAGE CIRCLE Journal of Language and Literature Vol. VII/2 April 2013 25