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"ABSTRAKScholarly attention for Old Javanese literature so far has mainly focused on poetry. The apparently simple nature of narrative prose texts, while making them excellent sources for linguistic and lexicographic research, at the same time denies them any literary value. In this article an impression is given of the art of storytelling in one Old Javanese prose story, taken from the Adiparwa of around A.D. 1000. Quite unexpectedly, a sophisticated tradition unfolds in which a rich variety of devices enables the storyteller to create a meaningful world of words."

"Scholarly attention for Old Javanese literature so far has mainly focused on poetry. The apparently simple nature of narrative prose texts, while making them excellent sources for linguistic and lexicographic research, at the same time denies them any literary value. In this article an impression is given of the art of storytelling in one Old Javanese prose story, taken from the Adiparwa of around A.D. 1000. Quite unexpectedly, a sophisticated tradition unfolds in which a rich variety of devices enables the storyteller to create a meaningful world of words."

"Much of the storytelling in Java is the profession of the puppeteers (dalang; also spelled dhalang) who perform and direct shadow theatre plays (wayang). They improvise their stories in the context which their performance requires. Unless commissioned to do so by a patron, it is very unusual for a dalang to sit down and actually write out a story (lakon). In the early decades of the twentieth century in the area of Yogyakarta, a kind of storytelling mini-industry arose at the instigation of some western scholarly patrons and laymen interested in Javanese popular culture. One such patron was Ir. J.L. Moens. He encouraged dalangs to write down folk tales and, as they were dalangs, they clothed these in the wayang idiom. After Moens? death in 1954, his unpublished collection of wayang stories was dispersed. In 1964 one part found its way into the Leiden University Library. The topics discussed are: how the Collectie Moens originated and what its purpose was; who its authors were; which tradition they acknowledged; and the relationship between the Collectie Moens and the court collections of Surakarta and Yogyakarta."

"ABSTRAKSkripsi ini menyajikan deskripsi tentang tarling sandiwara yang populer diwilayah Indramayu dan Cirebon. Lakon tarling sandiwara yang dipilih berjudulIstri Durhaka. Metode kajian yang digunakan adalah deskriptif analisispenokohan tokoh dari video hasil transkripsi. Telaah kritik sosial juga disajikanuntuk mengetahui permasalahan sosial yang ada pada saat ini melalui dialog yangdisajikan.

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ABSTRACTThis thesis presents a description about "taling sandiwara" or theatrical tarling that famous in Indramayu and Cirebon. Tarling theatrical story that selected as themain data of the study called Istri Durhaka. The method that used in this study isdescriptive analysis and to figure characterization from the video transcript. Studyof social criticism is also presented to determine the social problem that existtoday through dialogues"

"This paper examines some significant elements of the pig story (tiboi sakkoko). This tale contains crucial information about the collective identity, ancestors and historical events affecting particular Mentawai kin-groups. As families do not preserve their culture and traditions in written form, storytellers of kin-groups have narrated the pig story from generation to generation so as to preserve it carefully. In the course of time, storytellers establish particular ways of telling their stories so as to remember the content and plot of the stories easily. Through the pig story, members of kin groups also recollect their ancestral place of origin and plots of ancestral lands. The role of human memory is indispensable to recalling all these important elements. Therefore, this paper analyses memories of the past of different family generations. To achieve its aims, this paper also evaluates the roles of family stories in the culture and traditions of Mentawai society."

"Fokus penelitian ini adalah untuk memahami kekuasaan yang implisit dalam politik ritual di Pondok Ranggon dikonstruksi oleh relasi dualitas pelaku seni pertunjukan dan pelaku ritual hajat bumi dengan struktur masyarakat Jakarta. Untuk dapat memahami kekuasaan itu bekerja, penelitian ini menggunakan metode etnografi yang dielaborasi dengan etnokoreologi Konstruksi kekuasaan pada penelitian ini bermuara pada transformasi dan komodifikasi.Hasil penelitian menunjukkan transformasi pada seni pertunjukan Topeng Betawi, seni pertunjukan Wayang Golek, seni pertunjukan Tanjidor, seni pertunjukan Ondelondel serta terdapat transformasi pada proses ritual hajat bumi Pondok Ranggon meliputi ritual awal dan akhir dari Arak-arakan serta transformasi Baritan. Komodifikasi terjadi pada seni pertunjukan Topeng Betawi, seni pertunjukan Wayang Golek, seni pertunjukan Tanjidor, seni pertunjukan Ondel-ondel serta komodifikasi pada proses ritual hajat bumi Pondok Ranggon yang melingkupi Komodifikasi ruang sarana dan prasarana, Komodifikasi Panjat Pinang serta Komodifikasi Paradoks.Temuan penelitian ini memperkaya teori-teori strukturasi Anthony Giddens dengan memaparkan contoh kasus relasi dualitas pelaku dengan struktur, yaitu relasi dualitas pelaku seni pertunjukan serta pelaku ritual hajat bumi Pondok Ranggon dengan kondisi struktur masyarakat Jakarta yang mengkonstruksi kekuasaan. Temuan penelitian ini juga memperkaya pemahaman mengenai batas-batas dualitas, yaitu dengan menunjukkan bahwa relasi dualitas pelaku dengan struktur yang mengkonstruksi kekuasaan hadir dan sekaligus memproduksi transformasi dan komodifikasi.

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This research focus to understand implicit power in ritual politic located in Pondok Ranggon constructed by duality relation between performing art actor and Hajat Bumi ritual actor with structure of Jakarta society. To conceive how such power works, this research utilizes ethnographic method elaborated with etnochoreology. Power construction in this research results transformation and commodification.Research results show transformation in Topeng Betawi performing art, Wayang Golek performing art, Tanjidor performing art, Ondelondel performing art and also occurred in the Hajat Bumi ritual process including initial and the end of Arak-arakan also Baritan transformation. Commodification can be found in Ondel-ondel performing art along with Hajat Bumi ritual process Pondok Ranggon consist of Facility Room Commmodification, Panjat Pinang Commodification, and also Paradox Commodification.Research product enrich Anthony Giddens? structure theories with explaining an example of duality relation between actor and structure, in this case relation between performing art actor and Hajat Bumi ritual actor with structure of Jakarta society, constructing power. Result of this research enlighten also duality boundaries, specifically showing that duality relation between actor and structure constructing power exist and simultaneously producing transformation and commodification."

"Skripsi ini menjelaskan mengenai eksistensi sebuah kelompok pertunjukan kesenian tradisional di Desa Nunuk, Indramayu yaitu Egin Ayu. Sebuah kelompok kesenian tradisional seperti Egin Ayu merupakan bagian dari budaya masyarakat Indramayu yang dinamis. Selain menghadapi masyarakat sebagai sebuah kelompok seni pertunjukan, Egin Ayu juga merupakan sebuah kelompok sosial yang terdiri dari anggota-anggota yang memberi pengaruh terhadap eksistensi Egin Ayu. Pengumpulan data dilakukan dengan cara in-depth interview dan observasi untuk menjelaskan peristiwa-peristiwa dan tindakan-tindakan terkait dengan upaya para anggota Egin Ayu dalam mempertahankan eksistensinya. Terjadi penyesuaian atau adaptasi dalam bentuk kesenian yang Egin Ayu tampilkan. Penelitian ini juga ingin melihat motivasi dari para anggota kelompok seni Egin Ayu terkait dengan tindakan.

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This thesis explains the existence of a traditional performing arts group in a village called Nunuk in Indramayu, named Egin Ayu. A traditional performing arts group like Egin Ayu is a part of Indramayu people’s culture that is dynamic. Aside of confronting people as a traditional performing arts group, Egin Ayu is also a social group that consists of members that affect the existence of this group. Datas are collected through in-depth interview and observation to explain events and acts connected to members’ efforts to maintain Egin Ayu’s existence. Adaptation occurs in the form of the arts the group performed. This research also want to see motivations related to the actions of the members of Egin Ayu."