Kerajaan Singasari

Total Page:16

File Type:pdf, Size:1020Kb

Kerajaan Singasari Era Kerajaan: Kerajaan Singasari Sumber sejarah tentang Kerajaan Singasari di Jawa Timur adalah kitab-kitab kuno, seperti Pararaton (Kitab Raja-Raja) dan Negarakertagama. Kedua kitab itu berisis sejarah raja-raja. Kerajaan Singasari dan majapahit yang saling berhubungan erat. Ketika Ken Arok berkuasa di Tumapel, di Kerajaan Kediri berlangsung perselisihan antara Raja Kertajaya dengan para Brahmana. Para Brahmana tersebut melarikan diri ke Tumapel. Namun, dalam pertempuran di Ganter, ia mengalami kekalahan dan meninggal. Kemudian, Ken Arok menyatukan Kerajaan Kediri dan Tumapel, serta mendirikan Kerajaan Singasari. Ia bergelar Sri Rangga Rajasa (Rajasawangsa) atau Girindrawangsa di Jawa Timur. Dari istri yang pertamanya yang bernama Ken Umang, Ken Arok mempunyai empat orang anak, yaitu Panji Tohjaya, Panji Sudhatu, Panji Wregola, dan Dewi Rambi. Dari perkawinannya dengan Ken Dedes, Ken Arok mempunyai empat orang anak, yaitu Mahisa Wong ateleng, Panji Sabrang, Agni Bhaya, dan Dewi Rimbu. Ken Arok juga memiliki seorang anak tiri, yaitu Anusapati yang merupakan anak Tunggal Tunggul ametung dan Ken Dedes. Tunggul Ametung adalah Bupati Tumapel yang dibunuh Ken Arok. Pada tahun1227, masa pemerintahan Ken Arok berakhir ketika ia dibunuh oleh anak tirinya Anusapati, sebagai balas dendam terhadap kematian Ayahnya. Diceritakan bahwa Ken Arok dibunuh dengan menggunakan keris Mpu Gandring yang di pakai untuk membunuh Tunggul Ametung. Kemudian Ken Arok dimakamkan di Kagenengan (sebelah selatan Singasari). Setelah Ken Arok wafat, Anusapati yang bergelar Amusanatha, naik tahta sebagai raja kedua Kerajaan Singasari. Anusapati memerintah sampai tahun 1248. Tohjaya yang mengetahui bahwa ayahnya dibunuh oleh Anusapati, merencanakan pembalasan dendam. Tohjaya membunuh Anusapati juga dengan mengunakan keris Mpu Gandring. Setelah Wafat, jenazahanusapati diperabukan di Candi Kidal. Tohjaya kemudian mengantikan Anusapati menjadi Raja di Kerajaan singasari pada tahun 1248. Ia tidak lama memerintah karena terjadi pemberontakan yang dilakukan oleh orang-orang Sinelir dan Rajasa yang digerakkan oleh Ranggawuni, anak Anusapati. Ranggawuni dibantu oleh Mahisa Cempaka, anak Mahisa Wong Ateleng, saudara tiri Anusapati dari ibu yang sama. Pemberontakan Ranggawuni berhasil menyerbu Halaman 1/4 (c) 2015 Webmaster <[email protected]> URL: http://www.indopedia.gunadarma.ac.id/content/1/536/id/kerajaan-singasari.html Era Kerajaan: Kerajaan Singasari masuk ke istana dan melukai Tohjaya dengan tombak. Tohjaya berhasil dilarikan oleh para pengawalnya ke luar Istana, tetapi akhirnya meninggal di Katalang Lumbang. Dengan wafatnya Tohjoyo. Tahta kerajaan Singasari kembali kosong. Setelah tohjaya wafat, Ranggawuni naik tahta pada tahun 1248 M dengan gelar Sri Jaya Wishnuwardhana. Mahisa Cempaka yang telah membantunya merebut tahta, memperoleh anugrah kedudukan sebagai Ratu Angabhaya, pejabat terpenting kedua di Kerajaan Singgasari dengan gelar Narasinghamurti. Pada tahun 1254. Wishnuwardhana menobatkan anaknya yang bernama Kertanegara sebagai Yuwaraja atau Kumararaja (Raja Muda). Kertanegara mendampingi ayahnya memerintah sampai tahun 1268. Ketika Wishnuwardhana meninggal di Mandaragiri, ia dimuliakan di dua tempat yang berbeda. Di Candi Jago (Jajaghu) sebagai Buddha Amoghapasha dan di Candi Weleri sebagai Siwa. Setelah ayahnya wafat, Kertanegara sebagai raja muda langsung dinobatkan sebagai Raja Singasari. Dalam menjalankan pemerintahan, Kertanegara dibantu oleh tiga orang pejabat bawahan, yaitu Rakryan i Hino, Rakryan i Sirikan dan Rakryan i Halu. Dibawah ketiga Mahamantri, masih terdapat pula tiga orang pejabat bawahan, yaitu Rakryan Apatih, Rakryan Demung, dan Rakryan Kanuruhan. Untuk mengatur soal keagamaan, diangkat pejabat yang disebut Dharmadhyaksa ri Kasogatan. Raja Kertanegara adalah raja yang terkenal dan terbesar dari kerajaan Singasari. Ia mempunyai semangat Ekspansionis. Kertanegara bercita-cita memperluas Kerajaan Singasari hingga keluar Pulau Jawa yang disebut dengan istilah Cakrawala Mandala. Pada tahun 1275, ia mengirim pasukan ke Sumatra untuk menguasai Kerajaan Melayu yang disebut sebagai ekspedisi Pamalayu. Dalam ekspedisi tersebut, Kerajaan Melayu berhasil di taklukan tahun1260. Peristiwa ini diabadikan pada alas patung Amoghapasha di Padangroco (Sungai Langsat) yang berangka tahun 1286. Halaman 2/4 (c) 2015 Webmaster <[email protected]> URL: http://www.indopedia.gunadarma.ac.id/content/1/536/id/kerajaan-singasari.html Era Kerajaan: Kerajaan Singasari Raja Melayu saat itu, Tribhuwana atau Raja Mulawarmandewa, beserta rayatnya menyambut hadiah itu dengan suka cita. Hal ini menunjukkan bahwa Kerajaan Melayu secara resmi berada dibawah kekuasaan Raja Kertanegara. Kertanegara juga membawa putrid Melayu kembali ke Singasari untuk dinikahkan dengan salah seorang bangsawan Singasari. Tujuh pengiriman arca dan penaklukan Kejaan Melayu adalah untuk menghadang rencana perluasan kekuasaan Kaisar Kubilai Khan dari Cina. Diceritakan bahwa sudah beberapa kali utusan dari Cina dating ke Kerajaan Melayu menurut pengakuan untuk tunduk kepada Cina. Raja Kertanegara menolak mengirim upeti atau utusan sebagai pernyataan tunduk kepada Cina. Raja Kertanegara menolak mengirim upeti atau utusan sebagai pernyataan tunduk. Pada tahun 1289, utusan Cina bernama Meng K&#39;i dikirim pulang ke Cina sehingga Kaisar Kubilai Khan marah dan mengirim pasukan untuk menyerang Kerajaan Singasari. Sebagian besar pasukan Kerajaan Singasari sedang dikirim ke Sumatra untuk menghadapi serangan pasukan Cina. Sementara itu, Raja Jayakatwang di Kerajaan Kediri yang menjadi bawahan Kerajaan Singasari melihat kesempatan yang baik untuk merebut kekuasaan. Pada tahun 1292, Raja Jayakatwang dengan pasukan Kerajaan Kediri menyerang Ibu kota Kerajaan Singasari. Menurut cerita, pada saat serangan musuh dating, Raja Kertanegara beserta para pejabat dan pendeta sedang melakukan upacara Tantrayana sehingga dapat dengan mudah mereka semua dibunuh oleh musuh. Kerajaan Singasari akhirnya berhasil direbut oleh Jayakatwang, Raja Kediri. Unique solution ID: #1535 Halaman 3/4 (c) 2015 Webmaster <[email protected]> URL: http://www.indopedia.gunadarma.ac.id/content/1/536/id/kerajaan-singasari.html Era Kerajaan: Kerajaan Singasari Penulis: Admin UGPEDIA Terakhir diperbaharui: 2009-05-30 11:08 Halaman 4/4 (c) 2015 Webmaster <[email protected]> URL: http://www.indopedia.gunadarma.ac.id/content/1/536/id/kerajaan-singasari.html.
Recommended publications
  • Erfina Prabandari110110201010
    Digital Repository Universitas Jember Digital Repository Universitas Jember RELASI KUASA DAN REPRESENTASITOKOH “KEN AROK” DALAM NASKAH DRAMA KEN AROK KARYA SAINI K.M., NASKAH PARARATON, DAN NASKAH NAGARAKRETA- GAMA: PENDEKATAN INTERTEKSTUALITAS SKRIPSI Oleh Erfina Prabandari NIM 110110201010 JURUSAN SASTRA INDONESIA FAKULTAS ILMU BUDAYA UNIVERSITAS JEMBER 2016 i Digital Repository Universitas Jember Digital Repository Universitas Jember RELASI KUASA DAN REPRESENTASITOKOH “KEN AROK” DALAM NASKAH DRAMA KEN AROK KARYA SAINI K.M., NASKAH PARARATON, DAN NASKAH NAGARAKRETA- GAMA: PENDEKATAN INTERTEKSTUALITAS SKRIPSI diajukan guna melengkapi tugas akhir dan memenuhi salah satu syarat untuk menyelesaikan Program Studi Sastra Indonesia (S1) dan mencapai gelar Sarjana Sastra Oleh Erfina Prabandari NIM 110110201010 JURUSAN SASTRA INDONESIA FAKULTAS ILMU BUDAYA UNIVERSITAS JEMBER 2016 ii Digital Repository Universitas Jember Digital Repository Universitas Jember PERSEMBAHAN Skripsi ini saya persembahan untuk: 1. ayah Syamsul Arifin, Ibu Ermiyati serta nenek Siti Muryana yang tercinta; 2. almamater Fakultas Sastra Universitas Jember; 3. guru-guru sejak taman kanak-kanak sampai dengan perguruan tinggi. iii Digital Repository Universitas Jember Digital Repository Universitas Jember MOTO You are the main character in your live, then live well so you will be remembered as the good figure.1 Terjemahan: Kamu merupakan tokoh utama dalam hidupmu, maka hiduplah dengan baik agar kamu dikenang sebagai tokoh yang baik. Grote dingen zijn niet gedaan door impuls maar een reeks van kleine dingen bij elkaar gebracht.2 Terjemahan: Karya besar tidak dikerjakan oleh dorongan, namun oleh rangkaian hal-hal kecil yang dibawa bersama-sama. 1 Moto karya penulis (Erfina Prabandari), sebelumnya belum pernah diterbitkan atau ditulis dalam media apapun. 2 Tulisan Vincent van Gogh (pelukis terkenal dari Belanda) dalam suratnya untuk Theo van Gogh (Oktober 1882).
    [Show full text]
  • Asia Society Presents Music and Dance of Yogyakarta
    Asia Society Presents Music and Dance of Yogyakarta Sunday, November 11, 2018 7:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City This program is approximately ninety minutes with no intermission In conjunction with a visit from Hamengkubuwono X, the Sultan of Yogyakarta in Indonesia, Asia Society hosts a performance by the court dancers and musicians of Yogyakarta. The Palace of Karaton Ngayogyakarta Hadiningrat is the cultural heart of the city. From generation to generation, the Sultans of Yogyakarta are the traditional governors of the city and responsible for passing on art and culture heritage. The entire royal family is involved in preserving these art forms, and the troupe must perform with a member of the royal family present. The dances from Yogyakarta will be accompanied by gamelan music native to Java. Program Golek Menak Umarmaya Umarmadi Dance Masked Dance Fragment (Wayang Wong) “Klana Sewandana Gandrung” Bedhaya Sang Amurwabhumi About the forms: Golek Menak The golek menak is a contemporary example of the seminal influence exerted by the puppet theater on other Javanese performing arts. This dance was inspired by the stick–puppet theater (wayang golek), popular in the rural area of Yogyakarta. Using the three dimensional rod-puppets, it portrays episodes from a series of stories known as menak. Unlike the high-art wayang kulit (shadow puppets), it is a village entertainment, and it did not flourish at the court. As a dance drama, golek menak focuses on imitating this rod-puppet theater with amazing faithfulness. Human dancers realistically imitate the smallest details of puppet movement, right down to the stylized breathing of the puppets.
    [Show full text]
  • Historical Scholarship Between South Asia and Europe
    Java’s Mongol Demon. Inscribing the Horse Archer into the Epic History of Majapahit1 Jos Gommans Abstract The temple of Panataran near Blitar in Java features a unique scene in which one of the Ramayana demons, Indrajit, is depicted as a Mongol mounted horse-warrior. This essay explores the meaning of this representation on the basis of the multi- layered history and historiography of Java’s Mongol invasion. “Everything that happened in the Ramayana was absolutely real.” Maheshvaratirtha, sixteenth century (cited in Pollock 1993: 279) Panataran Temple Walking anti-clockwise around the base of the main terrace at Panataran Tem- ple, twelve kilometres north-east of Blitar in Java, the visitor is treated to the truly remarkable display of 106 relief panels carved with sequential scenes from the story of the Ramayana – the source of this particular series is the Kakawin version, which almost certainly dates from the ninth century CE, making it the earliest surviving work of Old Javanese poetry. Interestingly, the main charac- ter in this pictorial rendering is not the more customary figure of Rama, the exiled king, but instead his loyal monkey companion Hanuman. However, given the popularity of Hanuman in the Indic world in around the time the Panataran panels were made – the mid-fourteenth century – his prominence is perhaps not all that surprising after all (Lutgendorf 2007). Except for Hanu- man’s unusual role, the panels follow the conventional narrative, starting with the abduction of Rama’s wife Sita by Ravana, the demon king of Lanka. Many of the panels depict Hanuman’s heroic fights with demons (rakshasas), and the first series of battles culminates in panel 55, which shows Hanuman being attacked by Ravana’s son Indrajit.
    [Show full text]
  • Tenaga Dalam Volume 2 - August 1999
    Tenaga Dalam Volume 2 - August 1999 The Voice of the Indonesian Pencak Silat Governing Board - USA Branch Welcome to the August issue of Tenaga Dalam. A lot has occurred since May issue. Pendekar Sanders had a very successful seminar in Ireland with Guru Liam McDonald on May 15-16, a very large and successful seminar at Guru Besar Jeff Davidson’s school on June 5-6 and he just returned from a seminar in England. The seminar at Guru Besar Jeff Davidson’s was video taped and the 2 volume set can be purchased through Raja Naga. Tape 1 consists of blakok (crane) training and Tape 2 has about 15 minutes more of blakok training followed by a very intense training session in various animal possessions including the very rare Raja Naga possession. Guru Besar Davidson and his students should be commended on their excellent portrayal of the art. Tape 1 is available to the general public, but due to the intense nature of tape 2 you must be a student. It is with great sadness that I must report that Guru William F. Birge passed away. William was a long time personal student of Pendekar Sanders and he will be missed by all of the people that he came into contact with. 1 Tribute to Guru William F. Birge Your Memory Will Live On In Our Hearts. 2 DJAKARTA aeroplane is a lead-coloured line of sand beaten by EX ‘PEARL OF THE EAST’ waves seeping into a land as flat as Holland. The Dutch settlers who came here in 1618 and founded The following is a passage from the wonderful Batavia must have thought it strangely like their book Magic and Mystics of Java by Nina Epton, homeland.
    [Show full text]
  • Topeng Patih Dance: a Manifestation of the Beginning of Human Life In
    ICADECS International Conference on Art, Design, Education and Cultural Studies Volume 2020 Conference Paper Topeng Patih Dance: A Manifestation of the Beginning of Human Life in the Malang Mask Puppet’s World Soerjo Wido Minarto and Kelik Desta Rahmanto Study Program of Dance and Music Education, Faculty of Letters, Universitas Negeri Malang, Malang, Indonesia Abstract The focus of the study in this research was the Patih Mask dance in the Malang Masked Puppet performance as the opening dance. This dance has a close relationship with space, time, and content in the structure of the show. The purpose of this study is to examine the expression of aesthetic concepts through the structure of artistic symbols in the performance of Malang Masked Puppet. This research used ethnographic methods by emphasizing structural and hermeneutic theories. The aesthetic symbols that are reflected in the unity of the show consist of the ritual concept, characterization, Corresponding Author: communication, dance moves, make-up and fashion, accompaniment music, and Soerjo Wido Minarto elements of the stage which all lead to a noble behavior. The whole unity of the [email protected] elements is a symbol of ”Sangkan Paran”. Received: Month 2020 Keywords: Symbols, beginning, Sangkan Paran, Patih Mask, Malang Mask Puppet Accepted: Month 2020 Published: Month 2020 Publishing services provided by Knowledge E Soerjo Wido Minarto and 1. Introduction Kelik Desta Rahmanto. This article is distributed under the The Malang Puppet Mask Dramatari is believed to be the remnants of the noble heritage terms of the Creative Commons Attribution License, which of the great kingdoms in Malang.
    [Show full text]
  • A History of Southeast Asia
    ARTHUR AHISTORYOF COTTERELL SOUTHEAST AHISTORYOF ASIA SOUTHE A HISTORY OF OF HISTORY About the Author A History of Southeast Asia is a sweeping and wide-ranging SOUTHEAST Arthur Cotterell was formerly principal of Kingston narration of the history of Southeast Asia told through historical College, London. He has lived and travelled widely anecdotes and events. in Asia and Southeast Asia, and has devoted ASIA much of his life to writing on the region. In 1980, Superbly supported by over 200 illustrations, photographs and he published !e First Emperor of China, whose maps, this authoritative yet engagingly written volume tells the account of Qin Shi Huangdi’s remarkable reign was history of the region from earliest recorded times until today, translated into seven languages. Among his recent covering present-day Myanmar, !ailand, Cambodia, Laos, AS books are Western Power in Asia: Its Slow Rise and Vietnam, Malaysia, Singapore, Brunei, the Philippines, Indonesia Swift Fall 1415–1999, and Asia: A Concise History, and East Timor. T A published in 2011, the "rst ever coverage of the entire continent. “Arthur Cotterell writes in a most entertaining way by putting a human face on the history of Asia. Far too often, “Arthur Cotterell writes in a most entertaining history books are dry and boring and it is refreshing SIA way by putting a human face on the history of Asia.” to come across one which is so full of life. - to be changed” – Peter Church, OAM, author of A Short History of South East Asia, on Arthur Cotterell – Professor Bruce Lockhart
    [Show full text]
  • Downloaded From
    J. Noorduyn Bujangga Maniks journeys through Java; topographical data from an old Sundanese source In: Bijdragen tot de Taal-, Land- en Volkenkunde 138 (1982), no: 4, Leiden, 413-442 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com09/30/2021 08:56:21AM via free access J. NOORDUYN BUJANGGA MANIK'S JOURNEYS THROUGH JAVA: TOPOGRAPHICAL DATA FROM AN OLD SUNDANESE SOURCE One of the precious remnants of Old Sundanese literature is the story of Bujangga Manik as it is told in octosyllabic lines — the metrical form of Old Sundanese narrative poetry — in a palm-leaf MS kept in the Bodleian Library in Oxford since 1627 or 1629 (MS Jav. b. 3 (R), cf. Noorduyn 1968:460, Ricklefs/Voorhoeve 1977:181). The hero of the story is a Hindu-Sundanese hermit, who, though a prince (tohaari) at the court of Pakuan (which was located near present-day Bogor in western Java), preferred to live the life of a man of religion. As a hermit he made two journeys from Pakuan to central and eastern Java and back, the second including a visit to Bali, and after his return lived in various places in the Sundanese area until the end of his life. A considerable part of the text is devoted to a detailed description of the first and the last stretch of the first journey, i.e. from Pakuan to Brëbës and from Kalapa (now: Jakarta) to Pakuan (about 125 lines out of the total of 1641 lines of the incomplete MS), and to the whole of the second journey (about 550 lines).
    [Show full text]
  • Introduction to Old Javanese Language and Literature: a Kawi Prose Anthology
    THE UNIVERSITY OF MICHIGAN CENTER FOR SOUTH AND SOUTHEAST ASIAN STUDIES THE MICHIGAN SERIES IN SOUTH AND SOUTHEAST ASIAN LANGUAGES AND LINGUISTICS Editorial Board Alton L. Becker John K. Musgrave George B. Simmons Thomas R. Trautmann, chm. Ann Arbor, Michigan INTRODUCTION TO OLD JAVANESE LANGUAGE AND LITERATURE: A KAWI PROSE ANTHOLOGY Mary S. Zurbuchen Ann Arbor Center for South and Southeast Asian Studies The University of Michigan 1976 The Michigan Series in South and Southeast Asian Languages and Linguistics, 3 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Library of Congress Catalog Card Number: 76-16235 International Standard Book Number: 0-89148-053-6 Copyright 1976 by Center for South and Southeast Asian Studies The University of Michigan Printed in the United States of America ISBN 978-0-89148-053-2 (paper) ISBN 978-0-472-12818-1 (ebook) ISBN 978-0-472-90218-7 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ I made my song a coat Covered with embroideries Out of old mythologies.... "A Coat" W. B. Yeats Languages are more to us than systems of thought transference. They are invisible garments that drape themselves about our spirit and give a predetermined form to all its symbolic expression. When the expression is of unusual significance, we call it literature. "Language and Literature" Edward Sapir Contents Preface IX Pronounciation Guide X Vowel Sandhi xi Illustration of Scripts xii Kawi--an Introduction Language ancf History 1 Language and Its Forms 3 Language and Systems of Meaning 6 The Texts 10 Short Readings 13 Sentences 14 Paragraphs..
    [Show full text]
  • ANCIENT JAVANESE RECORDING of the PAST , ,YOLUMEN Quoddam Javanicum Ex Remotissimo Orbe Cum Aliis Mercibus Huc Per Mercatores An
    ANCIENT JAVANESE RECORDING OF THE PAST By F. H. VAN NAERSSEN* , ,YOLUMEN quoddam Javanicum ex remotissimo orbe cum aliis mercibus huc per mercatores anno nonagesimo sexto (read: septimo) adlatum. Quid contineat, prorsus ignoratur. Sunt qui leges esse Sinarum volunt, nonnulli Alcoranum censent, alii alia divinant. Character nostris hominibus numquam est visus. Folia sunt Palmae Indicae oblonga, numero LXXV, utrimque quatuor lineis sculpta. Tempus certius quid docebit." This was the description by Merula, the first librarian of Leyden University's Oriental Manuscripts Collection, of the first manuscript originating from Indonesia. It came from Java in 1597 with the first fleet which left the Netherlands in 1595 to explore the Far East under the command of Cornelis de Houtman. The com­ mercial profit which was the main purpose of the expedition was disappointing. However, the fact that this "Merces litterae", the above mentioned seventy-five inscribed palm leaves, was placed at the disposal of the University by an Amsterdam "cruydenier", a merchant in spices and condiments, shows how learning could be benefited by trade and commerce.1 The co-operation between scholarship and trade did not end with this case. After that, the Dutch East India Company favoured the University several times with gifts of "rare books", acquired during the voyages to far-away countries. Later (in the nineteenth and early twentieth centuries) tpe relation between research in the Netherlands and fieldwork in the Colonies was maintained particularly by missionaries and civil servants. However, Indonesian and Malayan Studies were still in the pioneering stage of their development. The part played by the participants of the early voyages of discovery is well known, as far as descriptive accounts of the countries that these Portuguese, Spaniards, Englishmen and Dutchmen visited are concerned.
    [Show full text]
  • Women on the Margins : an Alternative to Kodrat?
    WOMEN ON THE MARGINS AN ALTERNATIVE TO KODRAT? by Heather M. Curnow Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. University of Tasmania, Hobart School of Asian Languages and Studies October 2007 STATEMENTS OF OrtiONALITY / AUTHORITY TO ACCESS Declaration of otiginahtY: ibis thesis contains no material which has been acep ted for a degree or diploma by the University or any other institutions, except by way of hackground information and duly acknowledged in the thesis, and to the best of the candidate's knowledge and belief, no material previously published or written by another person, except- uthere due actabowledgement has been made in the text of the thesis. Statement of Authority of access: This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. ,C70 11leather Cuniow Date: A,5 hit tibigki ittool ABSTRACT: WOMEN ON THE MARGINS During New Order Indonesia (1966 — 1998) women's roles were officially defined by the Panca Darma Wanita (The Five Duties of Women). Based on traditional notions of womanhood, these duties were used by the Indonesian State to restrict women's activities to the private sphere, that is, the family and domesticity. Linked with the Five Duties was kodrat wanita (women's destiny), an unofficial code of conduct, loosely based on biological determinism. Kodrat wanita became a benchmark by which women were measured during this period, and to a large extent this code is still valid today. In this thesis, I have analyzed female characters in Indonesian literature with specific identities that are on the periphery of this dominant discourse.
    [Show full text]
  • 25 Struktur Semiotik Cerita Ken Arok Karya
    Struktur Semiotik Cerita Ken Arok (Martutik) 25 STRUKTUR SEMIOTIK CERITA KEN AROK KARYA TJAHYANINGTYAS DAN ZHAENAL FANANI TEORI TODOROV Martutik SMPN2 Sumberrejo Hp 081330471856 Abstrak : Penelitian dengan judul Struktur Semiotik Cerita Ken Arok Karya Tjahyaningtyas dan Zhaenal Fanani, Teori Todorov.Novel “Ken Aok ken dedes karya tjahyaningtyas dan Ken arok sumelang Gandring Karya Zhaenal Fanani” ini bertujuan untuk menganalisis struktur semiotik. Penelitian ini merupakan penelitian Pendekatan Obyektif dalam metode struktural semiotik.. Sumber data ini adalah Roman ken arok ken dedes karya Tjahyaningtyas dan ken Arok Sumelang Gandring karya Zhaenal Fanani. Penelitian difokuskan pada permasalahan yang berkaitan struktur dan semantiknya.dalam kajian ini akan dianalisis dengan tiga aspek, yaitu aspek semantik, aspek sintaksis, dan aspek verbal. Hasil penelitian sebagai berikut.Pertama, Aspek Sintaksis yang yang menganalisis terdiri dari urutan Spasial, urutan logis, dan urutan kronologis.Kedua,Aspek Semantik yang menganalisis yaitu hubungan sintakmatik (in presentia) dan hubungan paradigmatik (in absentia). Ketiga, Aspek verbal yang menganalisis hal yang berkenan dengan empat kategori, yaitu kategori modus dan kala, kategori sudut pandang, kategori pencerita, dan kategori ragam bahasa. Kata kunci : Sintaksis, Semantik,Verbal Abstract: The tittle of this reserch is “Struktur Semiotik cerita Ken Arok karya Tjahyaningtyas and Zhaenal Fanani, Todorov Teori.” Novel Ken Arok Ken Dedes made of Tjahyaningtyas, and Ken Arok Sumelang Gandring made of Zhaenal Fanani. “Have the goal, this goal is to analiyse semiotic struktur. This reserch is the objective semiotic struktur methode. The source of the data is ken arok ken dedes made of Tjahyaningtyas and ken arok sumelang gandring made of zhaenal Fanani. The focuse of the resech in the problem related to the structure ang semantic.
    [Show full text]
  • Representasi Simbolisme Wanita Jawa Dari Arca Prajnaparamitha Pada Karya Seni Batik Post- Modern
    Proceeding: International Conference on Art, Design, Education, and Cultural Studies (ICADECS) 2019 (ISSN : 2686-617X) Universitas Negeri Malang, Malang, Jawa Timur, Indonesia Representasi Simbolisme Wanita Jawa dari Arca Prajnaparamitha pada Karya Seni Batik Post- Modern 1st Okta Viviana A. Nusantari Art and Design Department State University of Malang Malang, Indonesia [email protected] Abstract—Prajnaparamitha is a statue form of the sebagai makhluk yang feminim, atau matriarki penuh Bodhisattwadewi from ancient Java which famous as a misteri, namun terdapat asumsi bahwa wanita adalah representation of Ken Dedes. This statue was estimated makhluk yang memiliki sifat lembut, sabar, elok , dan from the 13th century in the era of Singhasari Kingdom. beberapa sifat kefeminiman lain yang jarang ditunjukkan Prajnaparamitha statue is one of the best masterpieces as a wanita. Apabila berpijak pada persepsi filosofis yang classic figurative statue in Hindu-Budha Indonesia which menempatkan peran wanita sekadar sebagai kanca can represents Javanese women who is graceful and full of wingking (istri yang pekerjaannya cuma di dapur dan symbolic value of women’s life in Java land. The statue’s sumur), isi-sining omah (istri sebagai pelengkap dalam visual characteristics and historical-philosophy values that rumah tangga ) tersebut sesungguhnya sangat contained in it has to be the idea of Javanese women’s life bertentangan dengan kearifan masyarakat Jawa symbolism representation in post-modern batik artwork. (Adji&Achmad, 2018:12). In this research, the art method of creation that is Wanita Jawa pada masa Hindu-Buddha tampak adopted in the process of making post-modern batik memiliki posisi yang sama dengan kaum pria. Tengok saja artwork is a theory from SP.
    [Show full text]