THE STORY IN MODERN INDONESIAN FICTIONS (Reviews on Mangunwijaya and Sindhunata’s Novels)

Burhan Nurgiyantoro Universitas Negeri email: [email protected]

Abstract The wayang is a traditional story which influences toward the writing of modern . This study is aimed at describing the adoption of aspects of stories in the wayang plays in modern Indonesian novels with a focus on Mangunwijaya and Sindhunata’s novels; i.e. Burung-burung Manyar, Umayi, and Anak Bajang Menggir- ing Angin. The study uses the receptional, intertextual, and discourse-analysis approach- es. Results show the following findings. Character referencing from shadow-wayang sto- ries includes naming and characterizing, viz. complete adoption of names and characters of wayang figures, hypogram of simultaneous naming and characterizing, and characteriz­ ing with no naming. The hypogramming of novel plots on the shadow puppet plots in- cludes shadow-puppet show plots and shadow-puppet story plots. Every work has its own uniqueness and it is on this uniqueness that lies the values of a fiction work. This can be seen from the development of characterization of the figures and specific and unique plots. The value substances of the wayang story are related to personal, social, and religious life matters leading to perfect lives. Shadow-wayang values in novels are discharged through signification, comparison, symbolization, characters, life principles, and behaviours functioning more as cultural guidances.

Keywords: shadow wayang, modern Indonesian novels, hypogram, characterization, plot, values

WAYANG DALAM NOVEL MODERN (Tinjauan Novel Mangunwijaya dan Sindhunata)

Abstract Cerita wayang adalah adalah cerita tradisional yang berpengaruh terhadap penulisan sastra Indonesia modern. Penelitian ini bertujuan untuk mendeskripsikan pemunculan aspek cerita wayang dalam novel Indonesia modern dengan fokus pada novel Mangun- wijaya dan Sindhunata, yaitu Burung-burung Manyar, Durga Umayi, dan Anak Bajang Menggiring Angin. Penelitian menggunakan pendekatan resepsi, intertekstual, dan anali- sis wacana. Hasil penelitian menunjukkan hal-hal sebagai berikut. Perujukan penokohan dari cerita wayang mencakup penamaan dan perwatakan, yaitu pengambilan lengkap nama dan karakter tokoh wayang, hipogram penamaan dengan perwatakan sekaligus, dan perwatakan tanpa disertai penamaan. Hipogram plot novel pada plot wayang men-

167 cakup plot pertunjukan wayang dan plot cerita wayang. Tiap karya memiliki keunikan- nya sendiri dan di situlah antara lain letak nilai sebuah karya fiksi. Hal itu terlihat pada pengembangan karakter tokoh, plot yang khas dan unik. Substansi nilai-nilai cerita way- ang berkaitan dengan masalah kehidupan pribadi,sosial, dan religiusyang bermuara un- tuk mencapai kesempurnaan hidup. Nilai-nilai wayang dalam novel disampaikan lewat pembandingan, pelambangan, simbolisasi, karakter, sikap hidup, dan perilaku tokoh yang lebih berfungsi sebagai acuan kultural.

Kata Kunci: wayang, novel Indonesia modern, hipogram, penokohan, plot, nilai-nilai

INTRODUCTION to , the texts are translated and edited Up to the present time, the wayang into Old Javanese. The translation and story is widely known in the Javanese so- edition, doubled by the adoption of sto- ciety, also Indonesian society, especially ries and legends living in the society, pro- the one that is presented through the duce Mahabarata and of the shadow-wayang show. Shadow wayang Javanese version (Groenendael, 1985). story books, both in the prose and poetry Shadow-wayang stories living in the genres, both leather and wayang socie­ty presently are cultural heritages of theatres, all originate from shadow wa­ an old age dating not less than 3,500 yang stories. The wayang stories are epics years ago (Mulyono,1989:1). The texts originating from the genres Mahabarata and stories of the wayang of the Javanese and Ramayana. In core, the two genres version has been continuously rewritten, narrate the heroism of protagonistic edited, and added with various stories of characters to face and destroy antagonis- the later time, and now are even written tic characters. Looking at its long history in Indonesian and foreign languages. and the fact that many people still like it, The importance of the influence of it shows the high value and meaning of waang onto the Javanese society in the shadow wayang in the life of the society. past time can also be seen from temple From the point of view of the present reliefs depicting wayang figure and sto- era, shadow-wayang stories can be seen ries. For example, through anthropologi- as fulfilling the criteria of masterpieces, cal studies the figure of Bima (the second highly valued literary and cultural works. of the five Pandawa brothers) can be seen In addition, it can be used as a ‘brigde’ as reliefs in Temple, Karanganyar which connects old and modern cultures (Middle Java) and Penanggungan Tem- since it is seen as a gap between both cul- ple. In other temples,­­ reliefs can al- tures (Rochmat, 2018). so be seen of Ramayana stories such The original texts of the wayang sto- as in Loro Jonggrang Temple in ries, both of the genres Mahabarata and (Yogyakarta) and Pana- Ramayana, are not of Javanese literary taran Temple in Blitar (); origins. Both originate from and reliefs that tell about the Arjunawi- are written in Sanskrit. Upon coming in- waha shadow-wayang story can be

168 LITERA, Volume 18, Nomor 2, Juli 2019 seen in , Temple, nesia. The monumental and valuable and Kedaton Temple (Kasnowihardjo, work can be seen as the canonical literary 2012: 3). It must be remembered, how­ work (Thomsen, 2017:4). Thus, the wa­ ever, that shadow-wayang cultures are yang story is the classic literary work also found in other countries such as Ma- which is monumental and valuable as the laysia, Thailand, and surely India as their canonical literature to the traditional lite­ place of origin. rature. The wayang stories are not only of The wayang is also widely read, stud- the Javanese ethnicity; it is also the trea- ied, learned, and taken as research mate- sure of other Indonesian ethnics (such as rial in various countries in the world, in- Balinese and Sundanese), and is even the cluding shadow-wayang stories con- belonging of the Indonesian nation. tained in literary works. Such has been Now, the wayang culturees are acknow­ done, for example, by Figueras-Lucero ledged as valued international heritages. (1997) who investigated the aspects of In 1997, UNESCO, the UNO affiliated shadow wayang in the Pramudya’s novel organization in education, science, and Perburuan; Downes (2012) who studied culture, developed the laws for Master- such aspects in Y.B. Mangunwijaya, Putu piece of Oral and Intangible Heritage of Hu- Wijaya, dan Ayu Utami’s modern Indo- manity. Through accurate research, on nesian novel; Mustikasari et.al (2012) re- 2003, in Paris, the Indonesian wayang searched the same aspects in Yanusa Nu- sories or culture was declared by the groho’s Di Batas Angin karya; Varela UNESCO as Masterpiece of Oral and In- (2014) who studied about innovations in tangible Heritage of Humanity of the world the contemporary Javanese shadow wa­ (Wibisana 2009; Kasnowihardjo 2012: 3; yang in her dissertation; and Foley (2005) Sudjarwo 2010: xxxiv).1 This again shows who researched shadow wayang perfor- that the wayang stories are acknowledged mances as media for studying Indonesian as a value-loaded international cultural cultures by students in California. In ad- heritage that has a great role in the form- dition, the present study is similar with ing and developing of nation identities. It O’Neill (2017:65-75) who studied the is therefore natural that the the wayang transformations of the “Transformative becomes a source of reference for the Tales for Recessionary Times: Emma writing of literary works in modern Indo- Donoghue’s Room and Marian Keyes’ The Brightest Star in the Sky”. The writing 1) There are five kinds of wayangs were of these two works and two writers has included, namely (i) old Javanese wa­ much influence or intertextualization yang from Middle Java, (ii) old Bali- from references to Victorian fairytale. nese wayang from Bali, (iii) Sundanese Facts show that quite many of mo­ doll wayang from West Java, (iv) Palembang wayang from South Suma- dern Indonesian literary works use, refer tra, and (v) Banjar wayang from South to, reveal hypogram, or reactualize shad- (see Wibisono, 2009; Sud- ow-wayang stories. Writers like Y.B. jarwo et al, 2010; Kasnowihardjo, Mangunwijaya, Sindhunata, Putu Wi- 2012). jaya, Sena Gumira Adjidarma, Yanusa

The Wayang Story in Modern Indonesia Fictions (Reviews on Mangunwijaya and ... 169 Nugroho, Tjahyono Wibisono, Amrih zation of the cultural convention can be Pitoyo, and others bring up shadow-wa­ the works that have been produced by yang stories as one of their inspirations people in the past, including folklores and sources. Notwithstanding, there are given down orally from generation to differences in the way they “treat” the generation, which later are referred to as wayang stories in their works. They may mythology. The intertext theory views even use their own ways in telling about that later texts are written based on the the wayang stories such as those in Wi- existing texts. A text commonly uses a sanggeni and Drupadi (Sena Gumira Adji- previous text as an example, guide, frame- darma), Anak Bajang Menggiring Angin work, reference, or model. This will also (Sindhunata), Hanoman, Akhir Bisu Se- bring out consequences on the part of the buah Perang Besar, The Darkness of Gatot- readers. kaca, and Sebuah Novel Pahlawan Kesuny- Modern Indonesian literary works ian (Pitoyo Amrih). which reactualize shadow-wayang stories The theories underlining this study can be seen as using the stories as their are related to reception of literary aes- bases. In the intertext concept, this can be thetics and intertexts. The receptional called as a hypogram (Riffaterre, theory deals with the reception of or res­ 1980:23). Hypograms are previous works, ponses to literary texts by readers. A traditions, and conventions that are reader’s reception on a literary work is viewed as challenges to be responded to subjective in nature, determined by the and bases for later works. It is no wonder perception, literary experience, and depth that there are various transformational of the reader’s impression on the work. A forms of wayang stories in modern Indo- single literary work may impact different nesian literary works notwithstanding responses by different readers. This theo- that they are based on the same Ma- ry is first put up by Iser (Habib, 2005: habarata and Ramayana epics. The re- 724) who states that there are two pat- sulting literary works can be regarded as terns in reception, namely the “artistic” new works. The references from other pole in which the text is created by the works, which may be in the forms of con- author and the “aesthetic” pole in which ventions, certain formal forms, or ideas, the realization is acomplished by the can still be recognized. reader. The two poles must be there and The present study limits its scope on run simultaneously. Iser’s receptional three novels by two famous writers, Ma­ theory requires the active role from the ngunwijaya (6 May 1929 - 10 February part of the reader. 1999) and Sindhunata (12 Mey 1952). Literary works can emerge from a so- These writers are intentionally taken for ciety that already possesses the conven- their similarities in that both are priests, tion, tradition, aesthetic views, literary have interests in traditional wayang sto- goals, and others that can be seen as cul- ries, and are productive writers. Their in- tural realizations. This means that, in terests in the wayang stories are revealed fact, literature is a social convention be- in their creative novels; although not all cause the society wants it. Concrete reali­ their novels contain wayang story ele-

170 LITERA, Volume 18, Nomor 2, Juli 2019 ments. In addition, both are graduates are related. The primary text-analysis from German universities; Mangunwi- tool is knowledge of the world; i.e. the jaya majored in architecture, Sindhunata researcher’s knowledge of the world and is a doctor in philosophy. In addition, the of wayang stories. These aspects of study is also limited to the inclusion of knowledge are parts of the researcher wayang stories in the forms of characteri­ and, therefore, the research instrument is zation, plot, and the prominent values. the researcher himself. The study is focused on how the two In addition, data for the wayang sto- writers reveal and respond to various ries refer to various books about wayang wayang aspects in their novels. stories such as Rupa & Karakter Wayang The study is aimed at describing vari- Purwa (Heru S. Sudjarwo, Sumari, and ous forms of hypograms including Undung Wiyono, 2010), Ensiklopedi Wa­ charac­terization, plot and values in the yang (Djoko Dwiyanto, Sukatmi Susanti- novels Burung-burung Manyar, Durga ka, Wiwien Widyawati, 2010), Ensiklope- Umayi, and Anak Bajang Menggiring Angin di Tokoh-tokoh Wayang dan Silsilahnya which are the products of the writers’ (Mahendra Sucipto, 2010), Silsilah Wa­ creativities and responses. yang Purwa Mawa Carita, volumes I–VII (S. Padmosoekotjo, 1992), Ensiklopedi Wa­ METHOD yang Purwa (Suwandono, Dhaniswara, The study focuses on the novels of dan Mujiyono. 1993), (C. Mangunwijaya dan Sindhunata. Both are Rajagopalachari, 2008), Mahabrata (P. productive writers with many novels, but Lal, 1992), and Ramayana (P. Lal, 1995). the novels taken are the ones intensively Data analysis is done by the descriptive reactualizing wayang stories. For Man- qualitative technique by describing the gunwijaya, two novels are taken; for hypogram forms of wayang stories in the Sindhunata, one novel is taken. Mangun- three novels especially in the aspects of wijaya’s novels are Burung-burung Manyar characterization, plot, and values. (first printed 1981) dan Durga Umayi (first printed 1991), and for Sindhunata, the RESULTS AND DISCUSSION novel is Anak Bajang Menggiring Angin Results (first printed 1983). In the three novels, The use of wayang story aspects in hypograms of wayang stories can inten- the three novels of Burung-burung Man- sively be seen; wayang stories that be- yar, Durga Umayi, and Anak Bajang Meng- come cultural references, figures, charac- giring Angin related to characterization, ters, plots, values, and even sources of plot, and values can be summarized as writing, but are presented and created us- follows. ing the writing styles of modern novels. Burung-burung Manyar. Characteriza- The study adopts the receptional and tion of the novel contains hypograms intertextual approaches and uses text- from the names and characters of wa­ analysis techniques. The three novels are yang figures. Figures like Setadewa, compared to wayang stories in figures, Larasati, Antana, Janakatamsi, and characters, plots, values, and others that Braja­basuki are ones that are transformed

The Wayang Story in Modern Indonesia Fictions (Reviews on Mangunwijaya and ... 171 from names of wayang figures. For the Indonesian nation. One of the many val- main characters of the story, Setadewa is ues in the novel refers to the heroic strug- a hypogram of the wayang Kakrasana or gle and awareness to return to the truths Baladewa (Kakrasana’s name in old age) actualized by values in the wayang stories. and Larasati is a hypogram of the same From the intensiveness of the referencing name in the wayang stories. The plot of to the wayang stories and the styles that the novel is a hypogram of the plots in are similar to the wayang player’s, the no­ the wayang stories (there are many wa­ vel can be considered as a wayang novel. yang stories, either pakem or carangan)2. Anak Bajang Menggiring Angin. The no­ There are many values coming from the vel fully tells about stories based on the wayang stories. One value contained in standard Ramayana; this novel can then be the novel is the struggle in erecting truths considered as a wayang novel. Seen from and taking up responsibilities. These two the plot, the figures, in names, characters, aspects are core values of all wayang sto- and values are hypograms of and actual- ries. The novel tells about modern life ized by wayang stories. However, all are and characters, however, with wayang narrated in the novel style. The main cha­ performance and story patterns; so that it racter of the novel is Anoman, a major fi­ later is referred to as a wayang novel. gure in wayang stories. Anoman’s five Durga Umayi. Durga and Umayi are brothers, who are not main characters in names of wayang figures. Durga is a god- wayang stories: Kilatmeja, Ramadaya, dess with an ugly face and evil characters Dayapati, Garba Ludira, and Pulasio be- while Umayi, wife of Batara Guru, king come important figures in the novel and of the gods, is a goddess with nobel cha­ even become the symbolization of the title racters. The main character of the novel is of the story. They are narrated as young Iin Sulinda Pertiwi, a girl with split per- spirits, baby ghosts, not yet reaching the sonalities, a hypogram of the the two god- perfect forms of humans, who then trans- desses in the wayang stories. This can be merge into the self of Anoman to help him seen from the “pre-wayang” (a kind of fight against Rahwana. The plot is built up preface to the novel) telling about Durga chronologically presenting various stories and Umayi in the wayang stories. Parts of using specific and unique styles by the writ- the plot of the novel have a hypogram to er. The novel recreates the Ramayana sto- the plot in the wayang stories; even the ries using the novel style; therefore, it can sub-chapters have the pictures of certain be considered as a wayang novel. Also wayang figures. The name Pertiwi simul- there are many values coming from this taneously indicates that Iin symbolizes the wayang novel. The values of three novels, in substance, wayang values are related to 2) Pakem: Origin of stories, standard sto- personal, social, and religious matters in ries. Carangan: development, extension, the efforts to reach perfect life. or recreation of stories suited to needs The hypogramming of wayang story and contexts, but in similar lines with the standard version in plots, character aspects in the three novels related to cha­ patterns, and parts of the story. racterization, plot, and values can be summarized at Table 1.

172 LITERA, Volume 18, Nomor 2, Juli 2019 Table 1: The Hypogramming of Wayang Story Aspects in the Three Novels No. The Novel Hypogramming Ad 1. Burung-burung Manyar Characterization - Names of wayang figures - Characters of wayang figures Plot - Wayang stories - Wayang shows Values Related to: personal, social, religious matters in the efforts to reach perfect life 2. Durga Umayi Characterization - Names of wayang figures - Characters of wayang figures Plot Wayang stories Values Related to: personal, social, religious matters in the efforts to reach perfect life 3. Anak Bajang Menggiring Angin Characterization - Names of wayang figures - Characters of wayang figures Plot Wayang stories Values Related to: personal, social, religious matters in the efforts to reach perfect life

Discussion Elements of wayang stories of the dak berhipogram pada nama tokoh-to- three novels described below presented in koh wayang walau pada ‘Prawayang’ the aspects of characterization, plot, and menghadirkan cerita wayang. values. All figures in Anak Bajang Menggiring Characterization. Seen from the aspect Angin completely refer to the wayang fi­ of characterization, hypogramming of gures, both in names and characters. Fi­ the characterization from the wayang sto- gures in the novel such as Wijaya, ries includes two matters: naming and Laksmana, Begawan Wisrawa, Dewi characterizing. Variation in the hypo- Sukesi, Anjani, Hanoman, and Rahwana gram models can be seen in the complete are figures in the standard Ramayana. adoption of the names and characters, Anak Bajang Menggiring Angin is a Rama- simultaneous naming and characterizing, yana story told by the writer in his own and characterizing with no naming. way and style just like one in a fiction Name and Character Hypograms. Hy- novel. pogramming of names and characters In a similar case, figures in Burung- can be seen in Anak Bajang Menggiring An- burung Manyar like Setadewa, Larasati, gin and Burung-burung Manyar. In Durga Janakatamsi, Brajabasuki, and Antana Umayi, names in the novel are not hypo- are hypograms to wayang figures. Seen grams of names in the wayang stories, from the intensiveness of the hypogram- although the pre-wayang section tells ming, the two figures of Setadewa and about the wayang story. nama tokoh ti- Larasati much more have reference to

The Wayang Story in Modern Indonesia Fictions (Reviews on Mangunwijaya and ... 173 wayang stories than do Janakatamsi, Bra- fore, he is a round character. On the other jabasuki, and Antana. This is because the side, Baladewa has a more settled charac- former are main characters and the latter ter pattern, just like other wayang figures peripheral. The name Setadewa is hypo- who have flat characters. grammed to Baladewa (name of Kakrasa- Setadewa’s principles in being faithful na after crowned King of Madura), by to Indonesia, besides hypogramming to taking the word “dewa”, while “Seta” is Baladewa, also to Karna dan Salya. The one of Baladewa’s characters. “Seta” wayang story: Baladewa, Karna, dan means ‘white’ as Baladewa has white Salya (father-in-law of Karna), are in the skin (Baladewa is the reincarnation of side of Kurawa, but their attachment to God Basuki who has white skin); honest, never fades. Karna dan Salya even are and free from sins. The name Setadewa willing to die in the Baratayuda battle for then is a cluster of “Seta” and “Dewa”; the victory of Pandawa who is given the “Dewa” is a name, while “Seta” is a cha­ responsibility by the god to eradicate racter. evils (Sudjarwo, et al., 2010). The novel: Besides hypogramming to names, the Setadewa is willing to sacrifice himself to figure Setadewa is hypogrammed to ma- be fired from the multinational oil com- ny characters of Baladewa. This hypo- pany for his love of Indonesia. He knows gramming includes behavioral, mental, that the oil company is fraud and inflicts and physical characteristics. Setadewa losses to Indonesia. He cannot accept has White skin and, therefore, in his that his country (he firstly hated) is cheat- childhood, he is called by the name of ed and robbed by a foreign body. This at- Raden Mas Sinyo (nickname for children titude is a hypogram to Karna dan Salya with white skin). This is a transformation dalam in a different way which is contex- of the physical characteristic of Kakrasa- tual. na. As a young man, Setadewa tempera- The wayang: Baladewa is a reincarna- mental and has uncontrolled emotion; tion of Laksmana (a major figure in stan- but he is also faithful to promises, loves dard Ramayana) who chooses to be un- only one woman, is independent, has no married for his oath to . After becom- begging mentality, is honest, does not ing a monk, he does not pay attention to hide evils, does not want to devote to fa- women. The novel: This condition is cists and robbers, and remains to love In- transformed to Setadewa puts more con- donesia although he works for a foreign cern to his career than to his wife such company. These are mental and behav- that his marriage to an American woman ioral attitudes owned by Kakrasana and goes ashtray. He also refuses to accept the Baladewa who can get angry easily and persuasion of Mrs. Antana (mother of are temperamental, but forgiving and Larasati) to ”take” Larasati. The wa­yang: thoughtful (Sudjarwo et al., 2010: 512). after the Baratayuda battle, Baladewa In his mid age, Setadewa grows more ma- takes care of Pandawa’s descendent, ture, calm, and able to control his emo- Parikesit, to be King of Astina. The wa­ tions. Setadewa’s characters develop and yang: is transformed to Setadewa in his are depicted from many sides and, there- willingness to take care of the three chil-

174 LITERA, Volume 18, Nomor 2, Juli 2019 dren of Larasati after they become or- Indonesian literary works use hypograms phans. Larasati and her husband, from wayang stories, especially in the Janakatamsi, are killed in a Haj airplane characters, as stated by Kuntowijaya crash in Ceylon on their way to the Holy (1984: 128-9) long before, show that cha­ Land. racterization in many modern Indone- For the figure Larasati, the name is a sian novels has the typologism traditions. hypogram of Larasati in the wayang, This fact indicates that the wayang tradi- grand-daughter of Antagopa. In the no­ tions are still strongly rooted in the Java- vel, Larasati is daughter of Antana. The nase society and in modern Indonesian name “Antana” is a hypogram of “An- literature. This seems to be related to the tagopa”. Besides figure hypogramming, socio-cultural backgrounds of the writers there are also hypograms in family rela- (Mangunwijata and Sindhunata are of tions, father-and-child relation. There is a Middle Java origin where the wayang tra- parallel in the father-child relation be- ditions are still strong) that become the tween Antagopa and Larasati in the wa­ pre-conditions for the creation of literary yang story and Antana and Larasari in works. As heirs of the collective cultures, the novel. writers have the obligation to choose me- The same parallelism occurs in the re- dia that are known to the public. The lations between Setadewa and Brajaba- adoption of wayang stories will shorten suki and Baladewa and Basudewa. narration, on the one hand, and speed up Baladewa is son of Basudewa; the name comprehension, on the other; and it is Brajabasuki is a hypogram to Basudewa. thus more efficient. The transmission of The occurence of these family relation message through the literary work is equivalences adds to the occurence of more communicative and, in turn, more transformation of wayang stories to the comprehensible. characterization in the novel Burung-bu- Hypogram of Character with no Name. rung Manyar. The main character in the novel Durga The figure Larasati in the novel also Umayi is Iin Sulinda Pertiwi (later on: seems to be a hypogram to the wayang Iin), while the other charaters are periph- figure Sri Kandi physically, behaviorally, eral. Seen from the case of naming, there and mentally. The posture showing beau- seems to be no hypogramming to wayang ty, the lively movement, the heroic spirit, figures. However, seen from the case of the leadership, the willingness to do any- characterizing, Iin is a hypogram to Dur- thing for the man she loves are character- ga and Umayi. She is described as a wo- itic of both Larasati and Sri Kandi (see man with split personalities: sometimes Sudjarwo et al., 2010; Sucipto, 2010; Pad- nobel and sometimes evil. The two spli- mosoekotjo, 1992). Larasati is one of the ting personalities of good and bad are Indonesian heroines for independence. hypograms to or symbolized by the two Women figures in great struggles are re- wayang figures: Umayi, who is a goddess ferred to or symbolized as Sri Kandi— with beauty and a good heart, and Dur- the female knight in the wayang stories. ga, who is a goddess with an ugly face The phenomena that many modern and an evil heart. The symbolization of

The Wayang Story in Modern Indonesia Fictions (Reviews on Mangunwijaya and ... 175 this split personality even becomes the ti- people. She wants to redeem her wrongs. tle of the novel. But, she is faced with a dilemma since Seen from the physical side, Iin, who the state government demands that the has fair skin, beautiful face, and sexy project be continued to avoid shame from body depicts the posture of Dewi Umayi the international world. And so, Iin is who has perfect beauty. In her maiden again fettered by the two choices: Umayi age, Iin is a girl with good characters, or Durga! Characters of the wayang fig- likes to help others, and is a figure in the ure are symbolizations, symbolizations independence struggle. These good cha­ of a person who has split personalities. In racters are hypogramming to the charac- fact, the core problems of man are the ters of Dewi Umayi. On another side, same all the time. The difference lies in Iin’s involvement in the battle front of the their manifestations in life according to independence revolution with his father the era. Manifestations of these two cha- is a hypogram to the wayang figure Sri racters also occur in life of this supermo- Kandi, who is a female knight beside her dern world. This shows that the Javanese husband, . So, Iin’s good charac- local culture is now elevated to become ters are symbolized in and hypogrammed an Indonesian (Mustikasari, 2012) as it is to the two wayang figures Dewi Umayi brought up in modern Indonsian novels. and Sri Kandi. In another aspect, the word “Pertiwi” In the development, in her involve- in the complete name Iin Sulinda Pertiwi ment in the independence struggle, Iin can be connotated as “pertiwi” meaning kills enemy soldiers, is captured, and is ‘motherland’. In a wider sense, Iin sym- raped by a NEFIS member. Feeling that bolizes the Indonesian fatherland, Indo- she is no longer pure, because of the rape, nesian country. Iin’s life symbolizes the after the war, she plunges into the black life of the Indonesian nation. Iin’s life world: becoming a high-class prostitute, stream is narrated through the traditional changing partners, living together with- life, involvement in the war, being raped, out marriage ties, and becoming an inter- becoming a high-class prostitute, becom- national lobbyist, legal or illegal, relying ing a high-class, accumulation of wealth, on her physical charms. She is able to ac- becoming a conglomerate, and finally re- cumulate wealth and later becomes a turning to the right way as Umayi in spite wealthy conglomerate. These characters of the ambivalence to stay as Durga. This of Iin, allowing all ways to gain wealth, is in line with the way of life of the Indo- are hypograms to Durga who is imaged nesian nation who is “trapped” in the as a figure who has evil characters. two choices of good and bad matters (see One of the tourism megaprojects lo- also Downes, 2012:144). In the life of a cated in an outmost village in Middle Ja- person, or a nation, there are always va runs over the land belonging to her choices each of which carries its conse- twin-brother, Brojol, who is a poor far- quences. mer. This raises Iin’s conscience. She Ftrom the literary views, Iin’s charac- wants back to become Umayi to cancel ters develop and is narrated through the the project and return the lands to the various sides of her life so that she beco-

176 LITERA, Volume 18, Nomor 2, Juli 2019 mes a complex character in the novel, wayang shows consists of three parts; more complex than the wayang charac- each is marked by a stereotypical event ters in the wayang stories being hypo- and is accompanied by a different music grammed. This adds to the literary value piece. From the division of the hours, the of the novel. first part of the show runs between 21.00 and 24.00 hours, the second between Plot. Of the plot, the novel plot that is 24.00 and 03.00 hours; and the third be- a hypogram of the wayang plot can be tween 03.00 and 5.00 hours. This pattern differentiated into two kinds: wayang sto- is a symbolism of the life phase of hu- ry plots (there are many wayang stories) man beings; childhood, youth, and old and wayang show plots (leather puppet). age, (Sutriso, 2010:7-8) that tend to have Plot hypogramming to wayang shows different characteristics. In the novel, the can only be found in Burung-burung Man- symbolization of the life of man through yar, while plot hypogramming to wayang the plot in the wayang show is concretely stories can be found in all the three nov- hypogrammed in the life of the two main els. characters into intervals of years describ- Wayang Show Plot. Seen from the ing their childhood, youth, and old age. time reference, the novel Burung-burung This is done intentionally. It seems that Manyar is divided into three parts. Novel: the writer intentionally inserts the story, Part one (1934-1944) tells about the child- pattern, philosophy, characters, and val- hood time of Setadewa dan Larasati. ues of the wayang show into the novel; or During the Japanese occupation, Setade- he narrates the life paths of modern per- wa’s father is threatened by Kenpeitai, sons using the patterns of the wayang and so Setadewa is given to the family of show. The first thing he does is taking up Antana, Larasati’s father di Jakarta. Part the characters, philosophy, and values of two (1945-1950) narrates the youth life of the wayang into the novel; and second Setadewa dan Larasati. Setadewa sides thing is hypogramming the plot of the with the Dutch by becoming a KNIL sol- novel to the plot of the wayang show. It dier because of his hatred towards the can be seen, therefore, that the novel plot Japanese for harming his father and adapts the wayang plot and it can be said, mother. Larasata sides with the Republic. therefore, that the novel is a wayang no­ After the defeat of the Dutch, Setadewa vel. Furthermore, as it is true with art confesses his mistakes, goes to study works, wayang shows in the present time overseas, and long disappears from the involve aesthetic and thematic explora- scene. Part three (1968-1978) tells about tions and innovations (see Varela, 2014). the re-encounter between Setadewa Lara- Wayang-story Plot. There exist a lot of . Larasati is now married to Jana­ wayang stories, coupled by the emer- katamsi and had three children. After gence of new stories. Wayang-story plots Larasati and anakatamsi are killed in the are those that can be found in wayang Haj plane crash, Setadewa takes care of stories. In Burung-burung Manyar, the plot the three children. of Setadewa’s life is a hypogram to the Wayang show: the plot pattern in plot of Kakrasana (Baladewa). This is

The Wayang Story in Modern Indonesia Fictions (Reviews on Mangunwijaya and ... 177 evident from the hypogramming of the mined to stay unmarried. name and characters of the figure On another side, there are hypograms Kakrasana. that ignore conventions. Wayang: Lara- The plot hypogramming aspect can sati loves Kakrasana but as a brother. She be summarized as follows. (1) Wayang: is married to Janaka. Novel: Larasati is in together with his younger brother and sis- deep love with Setadewa such that she is ter (Narayana and Dewi Lara Ireng), going to propose to him. In her re-en- Kakrasana is sent to Widara Kandang, in counter with him, after years of separa- Antagopa’s house, father of Larasati, be- tion, Larasati, who is married and has cause of the presense of threat from three children, still loves Setadewa. This Kangsa. Novel: Setadewa is sent to the is not the same with what happens in the house of Antana, father of Larasati, be- wayang stories. cause of the threat from the Japanese to- Plot hypogramming also occurs in wards his father for his being a Dutch Durga Umayi. The novel presents a pre- soldier. (2) Wayang: for a personal rea- wayang (preface to a text) that tells about son, viz. being in oaths to the wife and the lives of Durga and Umayi. The pre- King of Astina, Kakrasana sides with wayang gives an indication that the novel Kurawa, while Larasati with Pandawa. that will be presented has a connection Novel: Setadewa, also for a personal rea- with the life stories of the two wayang son (Ono, the Japanese Kenpetai com- characters. In fact, it is the story and mandant ruins his mother and kills his characters of these two wayang figures father), sides with the Dutch; Larasati, that are mainly hypogrammed to the life secretary of thge Primer Minister Syah- story and characters of Iin. rir, sides with the Republic. (3) Wayang: The beautiful Iin is hypogrammed to After the Baratayuda War, Kakrasana Dewi Umayi by doing various good takes care of Parikesit, heir of Pandawa, deeds including going to the battle field i.e. son of Abimanyu and grandson of to fight against the colonizers. But, after Arjuna, because his love to Pandawa nev- slaughtering a dying Gurka soldier, she er fades. Novel: After Larasati and her feels cursed by Batara Guru so that she husband’s death, Setadewa takes care of has the characters of the evil Batari Dur- the three children of Larasati for his love ga. Thus, she undertakes occupations re- to Larasati that also never fades. garded as improper such as being a pros- Wayang: another hypogram to the titute, using her physical advantage to be convention of wayang stories is related to a lobbyist, allowing all ways to accumu- the life story of Baladewa who is the rein- late wealth. Iin’s life path is circled to a carnation of Laksmana. Because Laks- dilectical position, there being a conflict mana is celibate, Baladewa follows. But between the legal and illegal, between the this happens after he is married to Dewi good and the bad, and between sticking Erawati. Novel: This condition is hypo- to the glamorous modern life and coming grammed to the marriage failure of Se- back to traditional life that has become tadewa to an American because of ca- her cultural root. All this is symbolized in reer. After this failure, Setadewa is deter- the characters of Dewi Umayi and Batari

178 LITERA, Volume 18, Nomor 2, Juli 2019 Durga. The hypogram of wayang stories dition of scenes and dialogues that are to Iin’s life stories is symbolistic. This can intentionally done creatively. It is a fact also be seen from the subtitles of the no­ that there are no two works that are the vel that are given the pictures of certain same although they are taken from the wayang figures. So, in fact, Iin’s life same source. It is here that the writer’s streams are not only hypogrammed to creativity lies. Every work has and shows Durga and Umayi, but also to other wa­ its own specific characteristic and unique- yang figures such as Sri Kandi (female ness, and this is where the value of a fic- patriot), Sarpakenaka (female sexual pur- tion work lies. These phenomena can be suer), Togog (materialistic servant), and seen in the development of the figures’ others that are used as subtitles in the characters, the plot, that is all specific and novel. unique. It is therefore true that the novel In addition, seen from the narrating can be regarded as a wayang novel. style, the novel Durga Umayi is narrated Values. One of a writer’s motifs in in a specific way, different from the com- writing a novel is to present humanistic mon, that is by the narrating technique values. The purpose of the wayang sto- used by a wayang player. In the shadow ries is the same since a wayang story is wayang performance, the wayang player both an entertainment and an enlight- narrates the story continuously, by him- ment (Sutrisno, 2010:6). Wayang stories self, using formal and nonformal lan- also tell about humans and humanities, guage styles, seriously but humorously all life and living. In substance, humanistic at once asking the viewers to laugh. So is values do not change from time to time; it the narrating style of the novel; flowing is the manifestation in the real life that is continuously in long paragraphs, mixing contextual. Wayang-story values cover among narration, dialogues, comments, various aspects of the human life. They critiques, praises, and so on. However, can be differentiated into personal, so- because it is narrated using the wayang cial, and religious lives. These values player’s style, this means that the novel function to support the efforts to contin- tells about wayang stories. The wayang is ue, maintain, and develop life leading to a symbolization of man’s life. Iin is there- the goal achievement of perfect life. Lite­ fore there to symbolize the life of man or, rary work which contains good values even, the life of the Indonesian nation are taught at once to support the purpose (see Downes, 2012: 134-135). of character education (Irwansyah, Nur- This is different from the novel Anak giyantoro, & Sugirin, 2019). Bajang Menggiring Angin. The novel is In general, wayang values in literary sourced from wayang stories (Ramayana) texts are presented through comparison, written in a novel style. In the great out- symbolization, characters, life attitudes, line, the story reflects the standard wa­ and behaviours of the characters that are yang story. But, how the events are se- related directly or indirectly to the wa­ quenced, thus the plot, is developed yang figures. Thus, in this case, wayang through the acceptance, attitudes, beliefs, values function more as cultural refe­ and styles of the writer including the ad- rences. Wayang stories are symbolistic

The Wayang Story in Modern Indonesia Fictions (Reviews on Mangunwijaya and ... 179 works that put emphasis on the impor- herself before she is coopted with bad be- tance of the core problems that are being haviours and to come back to his only symbolized. The core problems that are brother. She is decided to leave off the in the forms of wayang philosophies and evil Durga characters and to return to be- values are packaged and actualized come the good Umayi. The novel inten- through the writing of novels in the mo­ tionally does not present a solution for dern life backgrounds. Mangunwijaya Iin’s choice since it is abruptly ended. dan Sindhunata believe that wayang sto- This here lies the role of the readers to fill ries are high cultures that have high val- up the gap in line with their expected ho- ues and that are still relevant to today’s rizons, a view from Iser’s reception theo- life. The two writers therefore intention- ry (Habib, 2005)). The story “merely” ally choose and recover wayang values in presents two choices to Iin, both are their fiction works. equally hard: Durga or Umayi. But, Iin is The values are related to personal old, a time to repent; therefore where the matters not only of feelings such as love, choice is to go is predictable. sexual drive and intercourse, faithfulness She intends to buy back all the village to husband; but feelings of ambivalences land ricefields and everything else that such as split personalities, devotion atti- have been bought by the project, meaning tudes, unwillingness to support family all the 1945 hectares of land that has members who do wrong, and others. In been demolished flattened by trucks she the case of sexual intercourse, for exam- will have it made into ricefields…; but ple, if the activity is done mainly to fulfill will the authorities allow it? Won’t that sexual desires, it will give poor off springs. mean that the prestige will feel slapped The wayang figure Batara Kala, a man- on the face all ashamed, whereas isn’t eating giant, is born of the uncontrolled shamefulness the bitterest suffering for sexual desire of Batara Guru (Durga the Eastern people? Umayi); the wayang figures Rahwana, an Dilemma, Pertiwi always lives in di- evil King, and Sarpakenaka (a sex-pursu- lemmas, but Iin is young then, now al- er female) are also born of the sexual de- ready over middle age, will it be like this sires of Begawan Wisrawa and Dewi all the time, becoming Durga in Setra- Sukesi (Anak Bajang Menggiring Angin). gandamayit .... Ah, mystery of good- Later on, when the sexual intercourse be- ness! Mystery of evils! (Mangunwijaya, tween Wisrawa and Sukesi is not only 1994: 182-183). driven by sexual desires, but also accom- panied by prayers to god, the born baby, The love of Setadewa to Larasati, Gunawan Wibisana, becomes a person and vice versa, actually never dies with good characters, religious, and de- (Burung-burung Manyar). But, they fender of truths. cannot be united in a marriage tie When Iin (Durga Umayi) is faced with since Iin is married and has three chil- the choice between cancelling the project dren. When Iin and her husband, and returning the land to the people, she Janakatamsi, are killed in the Haj contemplates. She is decided to return to plane crash, Setadewa is determined

180 LITERA, Volume 18, Nomor 2, Juli 2019 to take care of the three children. He two characters clearly are hypograms to feels obliged to educate them well; the figure Sri Kandi (Mahabarata) who is they are the children of his former fi- commonly adopted as a cultural referent ancée, he feels as if they were his own as a female patriot in the Indonesian cul- children. He defeats his own ego. Isn’t tures. The figures Kumbakarna and his this a nobel and sublime value? This younger brother Wibisana (Ramayana) value is a hypogram to the figure both refuse to help their older brother, Baladewa in Mahabarata. After the Rahwana, the evil king (Anak Bajang war, Baladewa, who has become a Menggiring Angin). Kumbakarna eventu- monk, guards and educates Parikesit, ally really goes to fight in the war, but grandson of Arjuna and is still a small with the intention to defend his country, child, so that in time he can become a not his brother. Wibisana chooses to side good king of Astina. with the enemy (Rama) who is rightly be- lieved as the good side. As stated by Su- Yeah, truly the heart of a widower trisno (2010: 6), through the wayang very often feels lonely empty alone. characters, wayang stories present a mo­ But fortunately God the Omnigene­ del, “model of ” and “model for” man’s rous still is willing to grant coolness choices in their life. Culture can become for the day and night of my life path, the source of good and bad evaluation by the agreement of the family and system, whether it is valuabe or not (Su- on the request of the father of Jana giarti & Putra, 2019) and wayang stories (not long after the Kolombo accident, –with all the form of transformation– are he returned to the House of the Lord), a part of culture. the three children of Atik I adopted them as my children. The most beau- CONCLUSION tiful gift from Atik and her husband The study comes up with the following whom I will guard and deliver to their conclusion. Various aspects of wayang future that complies with their identi- stories are adopted as comparison, signifi- ties and with the purist image lan- cation, symbolization, cultural references, guage. Eventually, they truly have to and even sources of writing in the three work out their future by themselves, novels. The referencing to to the charac- in order with their life calls. I just terization in the wayang stories includes want to give them the most beautiful the naming and characterizing seen in provision memories. Nothing more. three models. In the first model, the adop- (Mangunwijaya, 2014 (1981): 404). tion of the names and characters is com- plete as it is (Anak Bajang Menggiring Angin The three novels also present values and Durga Umayi); in the second, the nam- of the struggles to defend truths both of ing and characterizing are simultaneous the male and female characters. The fe- (Burung-burung Manyar); and in the third, male fighters are Larasati (Burung-burung the hypogramming is done to the charac- Manyar) and Iin (Durga Umayi) both in terizing with no naming (Durga Umayi). helping in the independence wars. The These facts show that wayang traditions

The Wayang Story in Modern Indonesia Fictions (Reviews on Mangunwijaya and ... 181 are still strongly rooted in the society (Ja- REFERENCES vanese) and in modern Indonesian intera- Dwiyanto, Dj., Susantika, S., Widyawati, ture. The sociocultural backgrounds of W. (2010). Ensiklopedi Wayang. Jog- the writers (especially Mangunwijata and jakarta: Media Abadi. Sindhunata) in many ways give the pre- Downes, M. (2012). Shadow on the Page: conditions of the writing of the literary Javanese Wayang in Contemporary works. As heirs of the collective cultures, Indonesian Literarture. RIMA: Re- the writers feel the obligation to use means view of Indonesian and Malaysian Af- known widely by the public. The referenc- fairs, 46(1). (http://connection.eb- ing to wayang stories shortens the narra- scohost.com/c/articles/92582084/ tion (for the writer) and, on the other side, shadows-page-javanese-wayang-con- speeds up comprehension (for the readers) temporary-indonesian-literature). making communication happens more ef- Figuueras-Lucero, A.A. (1997). The ficiently. Wayang Kulit the Narrative Frame- On the other side, the novel plots that work of Pramudya Ananta Tur’s Per- are hypogrammed to the wayang plots in- buruan, Journal of English Studies and clude two paterns, wayang show plots Comparative Literature, 2(1), 19-34. and wayang story plots. pertunjukan http://journals.upd.edu.ph/index. wayang dan plot cerita wayang. The wa­ php/jescl/article/down- yang show, that is performed in three load/2479/2345. time parts each having a typical story and Foley, K. (2005). Wayang and music accompaniment, is hypogrammed as a Tool of Cultural Leaning: Indo- in the novel Burung-burung Manyar that nesian Wayangs, Dance, and Music narrates the main characters also in three in the Classroom. Journal for Learn- time phases of their life. Plot hypogram- ing through the Arts, 1(1), 79-88. ming to various wayang stories is found http://escholarship.org/uc/ in the three novels, the most intensively item/1pd7d6ss#page-1. being in Anak Bajang Menggiring Angin Groenendael, V.M.C. (1985). The Dalang qand Burung-burung Manyar. Every work behind the Wayang: The Role of the has its own uniqueness; and it is there Surakarta and Yogyakarta Dalang in In- that the values of a fiction work lie. This donesian-Javanese Society. Dordrecht: can be seen in the specific and unique de- Foris. velopment of the characterization and Habib, M.A.R. (2005). A History of Mod- plot of the stories. In substance, wayang ern Literay Criticism, from Plato to Pres- values are related to personal, social, and ent. Malden, Oxford: Blackwell Pub- religious matters in the efforts to reach lishing. perfect life. The values are transmitted Irwansyah, D., Nurgiyantoro, B., & Sugi- through comparison, signification, sym- rin. (2019). A Literature-Based bolization, characters, attitudes, and be- Reading Instructional Model for Is- haviours of the figures functioning as cul- lam-Affiliated University in Indone- tural references as can be seen in the three sia, International Journal of Instruc- novels. tion, 12(3), 577-594. https://doi.

182 LITERA, Volume 18, Nomor 2, Juli 2019 org/10.29333/iji.2019.12335a. 28(1), 55-74. http://tandfonline. Kasnowihardjo, H.G. (2012). Wayang com/doi/fu Purwa: within a Study of Archaeolo- ll/10.1080/10436928.2017.1275331 gy, Art, and Identity of a Nation. Pa- Padmosoekotjo, S. (1992). Silsilah Way- per was presented for the Interna- ang Purwa Mawa Carita, jilid I–VII, tional Seminar for Sharing Art Surabaya: Citra Jaya . Ocean Mountain, Samudraraksa Rajagopalachari, C. (2008). Mahabhara- Ship Museum, Candi Borobu- ta, Yogyakarta: IRCiSod. dur, Central Java. http://www. Riffaterre, M. (1980). Semiotic of Poetry. academia.edu/3247508/Wa­ London: Metheun & CoLtd. yang_Purwa_A_Study_of_Ar- Rochmat, S. (2018). Transformative Edu- chaeology_Art_and_Nation_Identi- cation as a Dialectic of Indonesian ty. Culture and Modern Culture, Kuntowijoyo. (1984). “Penokohan dan Cakrawala Pendidikan, 37(3), 366- Perwatakan dalam Sastra Indone- 377. https://journal.uny.ac.id/in- sia”, dalam Andy Zoeltom (ed). Bu- dex.php/cp/article/view/21513. daya Sastra. Jakarta: Rajawali, pp. Sucipto, M. (2010). Ensiklopedi Tokoh-to- 127-136. koh Wayang dan Silsilahnya. Yogya- Lal, P. (1992). Mahabrata. Jakarta: Pusta- karta: Narasi. ka Jaya (Penerjemah Hariadi S. Har- Sudjarwo, H.S., Sumari, & Wiyono, U. tawardaya). (2010). Rupa & Karakter Wayang Pur- Lal, P. (1995). Ramayana. Jakarta: Pusta- wa. Jakarta: Kakilangit Kencana ka Jaya (Penerjemah Djokolelono). Prenada Media Group. Mulyono, Sri. (1989). Wayang, Asal-usul, Sugiarti & Putra, C.R.W. (2019). Repre- Filsafat, dan Masa Depannya. Jakarta: sentation of Culture Ecology in Wis- CV Haji Masagung. ran Hadi’s Persiden, Litera, Jurnal Mustikasari, D., Andre, A. & Nuriyah, Penelitian Bahasa, Sastra, dan Pengaja- L. (2012). Stories of Wayang Di Ba- rannya, 18(1), 17-35. https://jour- tas Angin by Yanusa Nugroho: Indo- nal.uny.ac.id/index.php/litera/arti- nesia Wayang in Modern Literature. cle/view/20579. International Proceedings of Economics Sunardi, DM. (1994). Ramayana. Jakar- Development & Research, 51, p.17. ta: . http://connection.ebscohost. Sutrisno, M. (2010). “Sukma di Balik com/c/articles/87742914/stories- Wayang”, “Pengantar” untuk Sud- wayang-di-batas-angin-by-yanusa- jarwo dkk, Rupa & Karakter Wayang nugroho-indonesia-wayang-mod- Purwa. Jakarta: Kaki Langit Ken- ern-literature). cana Prenada Media Group, pp.6-9. O’Neill, M. (2017). Transformative Tales Suwandono, Dhaniswara, & Mujiyono. for Recessionary Times: Emma (1993). Ensiklopedi Wayang Purwa. Donoghue ’s Room and Marian Jakarta: Balai Pustaka. Keyes ’ The Brightest Star in the Sky. Thomsen, M.R. (2017). “Changing Spac- Lit: Literature Interpretation Theory, es: Canonization of Anglophone

The Wayang Story in Modern Indonesia Fictions (Reviews on Mangunwijaya and ... 183 World Literature”. Anglia, Journal of Varela, M.E. (2014). Wayang Kontempor- English Philology, 135(1), 51-66. er: Innovations in Javanese Wayang. https://www.degruyter.com/ National University of Singapura: view/j/angl.2017.135.issue-1/ang- Dissertation, http://www.scholar- 2017-0004/ang-2017-0004. bank.nus.edu.sg/bitstream/han- xml?format=INT. dle/10635/119799/MiguelEsco- Wibisono, S. (2009). Wayang, Karya bar2014.pdf?sequence=1. Agung Dunia (http://www.Sastra- Indonesia.com/ 2009/12/Wayang, Karya Agung Dunia/).

184 LITERA, Volume 18, Nomor 2, Juli 2019