167 the Wayang Story in Modern Indonesian Fictions

Total Page:16

File Type:pdf, Size:1020Kb

167 the Wayang Story in Modern Indonesian Fictions THE WAYANG STORY IN MODERN INDONESIAN FICTIONS (Reviews on Mangunwijaya and Sindhunata’s Novels) Burhan Nurgiyantoro Universitas Negeri Yogyakarta email: [email protected] Abstract The wayang is a traditional story which influences toward the writing of modern Indonesian literature. 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, Durga 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 INDONESIA 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 Java, 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 Ramayana 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 wayangs and wayang socie ty 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 Sukuh 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 Prambanan (Yogyakarta) and Pana- Ramayana, are not of Javanese literary taran Temple in Blitar (East Java); origins. Both originate from India 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 Jago Temple, Surawana 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- Kalimantan (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).
Recommended publications
  • Concise Ancient History of Indonesia.Pdf
    CONCISE ANCIENT HISTORY OF INDONESIA CONCISE ANCIENT HISTORY O F INDONESIA BY SATYAWATI SULEIMAN THE ARCHAEOLOGICAL FOUNDATION JAKARTA Copyright by The Archaeological Foundation ]or The National Archaeological Institute 1974 Sponsored by The Ford Foundation Printed by Djambatan — Jakarta Percetakan Endang CONTENTS Preface • • VI I. The Prehistory of Indonesia 1 Early man ; The Foodgathering Stage or Palaeolithic ; The Developed Stage of Foodgathering or Epi-Palaeo- lithic ; The Foodproducing Stage or Neolithic ; The Stage of Craftsmanship or The Early Metal Stage. II. The first contacts with Hinduism and Buddhism 10 III. The first inscriptions 14 IV. Sumatra — The rise of Srivijaya 16 V. Sanjayas and Shailendras 19 VI. Shailendras in Sumatra • •.. 23 VII. Java from 860 A.D. to the 12th century • • 27 VIII. Singhasari • • 30 IX. Majapahit 33 X. The Nusantara : The other islands 38 West Java ; Bali ; Sumatra ; Kalimantan. Bibliography 52 V PREFACE This book is intended to serve as a framework for the ancient history of Indonesia in a concise form. Published for the first time more than a decade ago as a booklet in a modest cyclostyled shape by the Cultural Department of the Indonesian Embassy in India, it has been revised several times in Jakarta in the same form to keep up to date with new discoveries and current theories. Since it seemed to have filled a need felt by foreigners as well as Indonesians to obtain an elementary knowledge of Indonesia's past, it has been thought wise to publish it now in a printed form with the aim to reach a larger public than before.
    [Show full text]
  • Contemporary Literature from the Chinese Diaspora in Indonesia
    CONTEMPORARY LITERATURE FROM THE CHINESE 'DIASPORA' IN INDONESIA Pamela Allen (University of Tasmania) Since the fall of Suharto a number of Chinese-Indonesian writers have begun to write as Chinese-Indonesians, some using their Chinese names, some writing in Mandarin. New literary activities include the gathering, publishing and translating (from Mandarin) of short stories and poetry by Chinese-Indonesians. Pribumi Indonesians too have privileged Chinese ethnicity in their works in new and compelling ways. To date little of this new Chinese-Indonesian literary activity has been documented or evaluated in English. This paper begins to fill that gap by examining the ways in which recent literary works by and about Chinese-Indonesians give expression to their ethnic identity. Introduction Since colonial times the Chinese have been subjected to othering in Indonesia on account of their cultural and religious difference, on account of their perceived dominance in the nation’s economy and (paradoxically, as this seems to contradict that economic - 1 - dominance) on account of their purported complicity with Communism. The first outbreak of racial violence towards the Chinese, engineered by the Dutch United East Indies Company, was in Batavia in 1740.1 The perceived hybridity of peranakan Chinese (those born in Indonesia) was encapsulated in the appellation used to describe them in pre-Independence Java: Cina wurung, londa durung, Jawa tanggung (‘no longer a Chinese, not yet a Dutchman, a half- baked Javanese’).2 ‘The Chinese are everywhere
    [Show full text]
  • Katalog-Lontar-2019 Prev.Pdf
    2019 LONTAR CATALOGUE 2019 THE LONTAR FOUNDATION Since its establishment in 1987, the Lontar Foundation of Jakarta has carried on its shoulders the mission of improving international awareness of Indonesian literature and culture, primarily throught the publication of Indonesian literary translations. Lontar’s Publications Division, the backbone of the organization, has the significant task of determining which literary works are to be translated so as to reflect Indonesia’s cultural wealth. The Lontar Foundation publishes books under four imprints: Lontar, BTW, Amanah, and Godown. All titles released prior to 2002 (when Godown and Amanah were established) carried the Lontar imprint. TABLE OF CONTENTS Titles released under the Lontar imprint are primarily translations of Indonesian literature. (Exceptions include large-format books that embody Lontar’s mission of enhancing international knowledge of Indonesian culture.) Most Lontar titles are intended for general THE LONTAR FOUNDATION AND ITS IMPRINTS i reading pleasure and for use in teaching courses on Indonesian literature and culture. Lontar TITLES 2 The Modern Library of Indonesia 2 Historical Anthologies 11 Titles in the BTW series—with “BTW” standing for “by the way,” as Other Literary Translations 13 in “by the way, have you heard about such and such an author?”— Special Publications 15 feature work by new and emerging Indonesian writers. This series of Wayang Educational Package 16 mini-books is aimed at publishers, editors, and literary critics. BTW BOOKS SERIES #1 18 Under its Amanah imprint, Lontar publishes Indonesian-language BTW BOOKS SERIES #2 23 titles that Lontar itself has put together in the course of developing an English-language publication.
    [Show full text]
  • The Influence of Hindu, Buddhist, and Chinese Culture on the Shapes of Gebyog of the Javenese Traditional Houses
    Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.79, 2019 The Influence of Hindu, Buddhist, and Chinese Culture on the Shapes of Gebyog of the Javenese Traditional Houses Joko Budiwiyanto 1 Dharsono 2 Sri Hastanto 2 Titis S. Pitana 3 Abstract Gebyog is a traditional Javanese house wall made of wood with a particular pattern. The shape of Javanese houses and gebyog develop over periods of culture and government until today. The shapes of gebyog are greatly influenced by various culture, such as Hindu, Buddhist, Islamic, and Chinese. The Hindu and Buddhist influences of are evident in the shapes of the ornaments and their meanings. The Chinese influence through Islamic culture developing in the archipelago is strong, mainly in terms of the gebyog patterns, wood construction techniques, ornaments, and coloring techniques. The nuance has been felt in the era of Majapahit, Demak, Mataram and at present. The use of ganja mayangkara in Javanese houses of the Majapahit era, the use of Chinese-style gunungan ornaments at the entrance to the Sunan Giri tomb, the saka guru construction technique of Demak mosque, the Kudusnese and Jeparanese gebyog motifs, and the shape of the gebyog patangaring of the house. Keywords: Hindu-Buddhist influence, Chinese influence, the shape of gebyog , Javanese house. DOI : 10.7176/ADS/79-09 Publication date: December 31st 2019 I. INTRODUCTION Gebyog , according to the Javanese-Indonesian Dictionary, is generally construed as a wooden wall. In the context of this study, gebyog is a wooden wall in a Javanese house with a particular pattern.
    [Show full text]
  • Journal Für Religionskultur
    ________________________________ Journal of Religious Culture Journal für Religionskultur Ed. by / Hrsg. von Edmund Weber in Association with / in Zusammenarbeit mit Matthias Benad, Mustafa Cimsit, Natalia Diefenbach, Alexandra Landmann, Martin Mittwede, Vladislav Serikov, Ajit S. Sikand , Ida Bagus Putu Suamba & Roger Töpelmann Goethe-Universität Frankfurt am Main in Cooperation with the Institute for Religious Peace Research / in Kooperation mit dem Institut für Wissenschaftliche Irenik ISSN 1434-5935 - © E.Weber – E-mail: [email protected]; [email protected] http://web.uni-frankfurt.de/irenik/religionskultur.htm; http://irenik.org/publikationen/jrc; http://publikationen.ub.uni-frankfurt.de/solrsearch/index/search/searchtype/series/id/16137; http://web.uni-frankfurt.de/irenik/ew.htm; http://irenik.org/ ________________________________ No. 215 (2016) Dang Hyang Astapaka and His Cultural Geography in Spreading Vajrayana Buddhism in Medieval Bali1 By Ida Bagus Putu Suamba2 Abstract The sway of Hinduism and Buddhism in Indonesia archipelago had imprinted deep cultural heritages in various modes. The role of holy persons and kings were obvious in the spread of these religious and philosophical traditions. Dang Hyang Asatapaka, a Buddhist priest from East Java had travelled to Bali in spreading Vajrayana sect of Mahayana Buddhist in 1430. He came to Bali as the ruler of Bali invited him to officiate Homa Yajna together with his uncle 1 The abstract of it is included in the Abstact of Papers presented in the 7th International Buddhist Research Seminar, organized by the Buddhist Research Institute of Mahachulalongkornrajavidyalaya University, Ayutthaya, Thailand held from the 18th to the 20th of January, 2016 (2559 BE) at Mahachulalongkornrajavidy- alaya University, Nan Sangha College, Nan province.
    [Show full text]
  • Abstract (228.3Kb)
    Proceedings of The 5th Tourism and Hospitality International Conference (THIC 2017) Panji Museum Agoes Tinus Lis Indrianto & Dewa Gde Satrya * One of competitive grant output, Ministry of Research, Technology, Higher Education, Republic of Indonesia, 2006 ** Lecture of Hospitality Business, Ciputra University ABSTRACT The origin of Panji Foklore Stories, a romantic tale between Panji Asmorobangun and Dewi Sekartaji. Panji Stories tells the story about Kadiri Kingdom get rapid developed in the Majapahit times. This story then spread out to various regions, begin from Nusa Tenggara, Bali, almost all Java, and Sumatera region, Kalimantan until to Malay Peninsula, Malaysia, Thailand, Myanmar, and Philippines. Unrealized then at last Panji Stories become the bigger challenging tales in wayang stories, Ramayana and Mahabharata. The Various of Panji Culture expression in the form of oral literature, visual literature, performance art, and values of life. Panji Culture has many variants derived from Java, is properly be packed as a museum. In Tumpang, Malang, East Java, has stood up Panji Museum Inggil Foundation-owned. Statement of the problem in this study is how the museum packing based on Story Panji? This article aims to provide inputs of thematic museum-based Panji Story. Indonesia museums has it own uniqueness, in addition to the large number, evenly spread out in many regions, also has multiform types of collection. But, the essential problem is not solved yet, both from internal or external side, that leading museum has not attracted by the tourists. The strategy of Panji story based museum development that described through this study expresses the importance opportunity of museum management modernization to increasing the museum attractiveness in Indonesia.
    [Show full text]
  • Download Article (PDF)
    Advances in Social Science, Education and Humanities Research, volume 552 Proceedings of the 4th International Conference on Arts and Arts Education (ICAAE 2020) Life Values in Gapura Bajangratu Katrin Nur Nafi’ah Ismoyo1,* Hadjar Pamadhi 2 1 Graduate School of Arts Education, Yogyakarta State University, Yogyakarta 55281, Indonesia 2 Faculty of Languages and Arts, Yogyakarta State University, Yogyakarta 55281, Indonesia *Corresponding author. Email: [email protected] ABSTRACT This study employed the qualitative research method with Hans-George Gadamer’s semiotic approach and analysis based on Jean Baudrillard’s hyperreality. According to Gadamer, truth can be obtained not through methods, but dialectics, where more questions may be proposed, which is referred to as practical philosophy. Meanwhile, Jean Baudrillard argues that “We live in a world where there is more and more information, and less and less meaning …”. This paper discusses the life values of Gapura Bajang Ratu in its essence, as well as life values in the age of hyperreality. Keywords: Gapura Bajangratu, life values, hyperreality, semiotics 1. INTRODUCTION death of Bhre Wengker (end 7th century). There is another opinion regarding the history of the Bajangratu Gapura Bajangratu (Bajangratu Temple) is a Gate which believe it to be one of the gates of the heritage site of the Majapahit Kingdom which is located Majapahit Palace, due to the location of the gate which in Dukuh Kraton, Temon Village, Trowulan District, is not far from the center of the Majapahit Kingdom. Mojokerto Regency, East Java. Gapura Bajangratu or This notion provides historical information that the the Bajangratu Gate is estimated to have been built in Gapura gate is an important entrance to a respectable the 13-14th century.
    [Show full text]
  • Garudeya Batik the Relief Sculpture "Garudeya" of Sukuh Temple As an Idea of Batik Creation
    Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.79, 2019 Garudeya Batik The Relief Sculpture "Garudeya" of Sukuh Temple as an Idea of Batik Creation Dharsono Departement of Fine Art, Faculty of Fine Art and Design, Indonesian Institute of the Arts, Surakarta, Indonesia Abstract Creative artistic batik inspired by Garudeya sculptures carved on the reliefs of Sukuh Temple in Karanganyar, Central Java, Indonesia. The process of making batik is focused on preserving traditional arts as a form of cultural resilience. Preservation can be interpreted as maintaining, caring for and protecting. Conservation is the preservation of the form of development and use of values. Conservation is more prioritizing in the development of response alternatively to the condition of art and culture globally. This study aims to make prototypes and designs of batik as artistic creations sourced from reliefs of Garudeya sculptures carved on the outer walls of Sukuh Temple. To achieve this goal, it requires an experimental method of reproductive form with garap (work on) innovation, a sanggit work with a concept of revitalization. The method of creating sanggit works has a level of importance that refers to the form of traditional arts preservation, by trying to provide alternative artworks with the reproduction technique of garap innovation. Technically experienced processing reduction through the elements; contour lines, colouring techniques and content fields in thematic engineering. Conservation with the concept of revitalization and reinterpretation, producing prototypes and batik designs as artistic creations inspired by the Garudeya sculpture carved into the reliefs of Sukuh Temple. The artistic creation of the "Garudeya" batik inspired by the Garudeya Sculpture is a symbol of Garuda as a liberator figure who is part of the search for Tirta Amerta (living water) story contained in The Adiparwa book.
    [Show full text]
  • East Java – Bali Power Distribution Strengthening Project
    *OFFICIAL USE ONLY PT PLN (Persero) East Java – Bali Power Distribution Strengthening Project Environmental & Social Management Planning Framework (Version for Disclosure) January 2020 *OFFICIAL USE ONLY BASIC INFORMATION 1. Country and Project Name: Indonesia – East Java & Bali Power Distribution Strengthening Project 2. Project Development Objective: The expansion of the distribution network comprises erection of new poles, cable stringing, and installation of distribution transformers. 3. Expected Project Benefits: Construction of about 17,000 km distribution lines and installation of distribution transformers in East Java and Bali 4. Identified Project Environmental and Social Risks: Social Risks. It is envisaged that this project will require (i) use of no more than 0.2 m2 of land for installation of concrete poles and approximately 4m2 for installation of transformers (either in cabinet of between two concrete poles or on one pole); limited directional drilling (approx. 200-300m) to run cables under major roads and limited trenching (usually less than 500m) in urban environments, and (iii) possible removal of non-land assets (primarily trimming or felling of trees) for stringing of conductors. While restrictions on land use within the existing right of way apply, the land requirements for the distribution network (lines and transformers) are considered manageable with normal mitigation measures. Project activities will not (i) require land acquisition, (ii) cause physical or economic displacement; and/or (ii) result in adverse impacts to Indigenous Peoples groups and/or members of ethnic minorities. Environmental risks are principally induced by the establishment of the network across natural habitats and potential impact on fauna (in particular avifauna and terrestrial fauna susceptible to access the distribution lines or transformers such as monkeys or other tree dwelling scavenging animals that frequent semi urban environments), and the management of waste (e.g.
    [Show full text]
  • The Position and the Role of Women in Local Minangkabau Novels
    The Position and the Role of Women in Local Minangkabau Novels Irfani Basri1, Ellya Ratna2, Zulfikarni3 {[email protected]} 1,2,3Faculty of Language and Art. Universitas Negeri Padang. Padang. Indonesia Abstract. A woman in Minangkabau society is called by bundo kanduang. Bundo kanduang is a call to a group of women according to Minangkabau custom. Meaning bundo is mother, kanduang is true. So, bundo kanduang is a true mother who has motherhood and leadership. Description of a bundo kanduang can be seen in some novels from time to time. First, the position and the role of women in Minangkabau’s novel in the long period namely; as wife, mother, and singer in the people. Second, the position and the role of women in Minangkabau’s novel in the New period, namely; as wife, mother, and singer of members of the community and members of the community. Third, the position and the role of women in Minangkabau’s novel in the reform period namely; as wife, mother, and singer of members of the people and can be involved in the community and government. Keywords: role of women, minangkabau novels, local wisdom 1. Introduction Women in Minangkabau society have different positions and roles with women in any cultural ethnicity in the world. The differences can be seen from various aspects. First, for Minangkabau people who adhere to the matriarchal kinship system, lineages and tribes are drawn based on the maternal line. Second, power should also be fully held by the mother. Third, inheritance rights are inherited to women. As special as women in Minangkabau, many writers, especially those from Minangkabau, talk about women in their novels.
    [Show full text]
  • The Construction of Modernity in Pre-Independent Indonesia 276
    Sarwoto / The Construction of Modernity in Pre-Independent Indonesia 276 THE CONSTRUCTION OF MODERNITY IN PRE-INDEPENDENT INDONESIA AND ITS ENSUING MANIFESTATION IN CRITICAL DISCOURSE AND LITERARY THEORY Paulus Sarwoto Universitas Sanata Dharma [email protected] Abstract This article traces the development of what may be called Indonesian critical discourse particularly related to the position of “West” and “East” from the colonial period to the New Order era. The development of this discourse and its manifestation in Indonesian literary theory began with a postcolonial debate on the construction of Indonesian modernity, i.e., toward which center it is going to be oriented. The tension between Western-centric discourse, on the one hand, and traditional orientation, on the other, characterized the earliest intellectual debate in the 1930s. This argument took a different contour in the 1960s when the tension turned out to be between social realism and liberal humanism. The banning of leftist ideology and teaching after 1965 gave way to the unchallenged dominance of the traditional humanist outlook in the literary-critical scene. The paper argues that the present hegemony of traditional humanist approach in Indonesian consciousness is rooted in its distinctive development in these few decades. Keywords culture polemic, Lekra, Manikebu, social realism, humanism, postcolonial About the Author Paulus Sarwoto is the Chair of the English Language Studies Graduate Program of Universitas Sanata Dharma, Yogyakarta, Indonesia. He holds a Ph.D. in Comparative Literature and Cultural Studies from Monash University. His research interests include postcolonial theory, cultural studies, and comparative literature. He is currently working on his book project entitled The Javanese in Transition: A Postcolonial Study of the Priyayi Class in the Works of Indonesian Author Umar Kayam.
    [Show full text]
  • Changing Images of Women and Java
    Background paper for presentation by Sita van Bemmelen and Mies Grijns: Locating the Discourse on Gender Identity in Indonesia: an Exploration of the Scholarly Literature, Panel 9, Parallel Session 3, July 13, 2005. WHAT HAS BECOME OF THE SLENDANG? CHANGING IMAGES OF WOMEN AND JAVA Sita van Bemmelen and Mies Grijns The images of women in Java as depicted in academic studies, like their realities, have changed over the last half-century. An illuminating analogue can be found in the use of the slendang, a wide shawl originally made from batik cloth or from lurik, a striped coarsely woven material for daily use. To us, the transformation of the slendang over the past decades runs parallel to the development of studies on women in Java. The slendang is a predominantly female attribute, used by women and girls. Men occasionally use a slendang, but only for carrying small children. The anthropologist Hildred Geertz describes the slendang in the 1950s as more than just a piece of cloth for practical use: “Carrying a baby in a shawl is called nggéndong; and it is this action that is usually re-enacted as symbolic of the mother’s total care — for instance, at the wedding ceremony or at the harvest when the first ears of rice are carried home in a slendang. The slendang represents complete security…” (Geertz 1961:94). Women also use the slendang as a working “tool,” to transport other loads than babies such as firewood, trading goods, or jamu. The saying “sapikul, sagendong” depicts the different ways men and women carry goods: men in two baskets on a bamboo shoulder-pole, women in one basket fastened in a slendang on their backs.
    [Show full text]