Download Women Archetype Characters and Motifs in Three

Passage2013, 1(1), 21-30
Women Archetype Characters and Motifs in Three Indonesian Folk
Tales
Riska Karina Rosliana*
[email protected]
* Riska graduated in December 2012 from Literature Major at English Language and Literature Study Program, Indonesia
University of Education, Bandung
ABSTRACT
This study entitled Woman Archetype Characters and Motifs in Three Indonesian
Folk Tales has three aims: 1) to identify the description of woman archetypes in
Indonesian folk tales in term of the characters and motifs employed in the tales; 2) to
investigate the representation of woman archetype of Indonesian folk tales with
references to European folk tales; and 3) to make meaning from the comparison
between Indonesian folk tales and their European counterpart. The study employs
qualitative study with the content analysis approach. The analysis of the study is
framed within the theory of archetype characters in literature proposed by Jung
(1961), and the theory of archetype motifs in folk literature by Thompson (19551958). The fact that Indonesian women are presented to be more assertive and
independent than their European counterpart rejects the stereotyped view of
Indonesian women as submissive and dependent women.
Keywords: woman, archetype, character, motif, folk tale
21
Riska Karina Rosliana
Women Archetype Characters and Motifs in Three Indonesian Folk Tales
the meaning constructed from the
A. BACKGROUND
comparison.
It is assumed that oral tradition is
the reason that makes typical tale
B. THEORETICAL
which narrates a story of an orphan
girl
who
is
mistreated
by
FOUNDATION
her
The theory of the archetype was
stepmother and stepsister and helped
introduced by a Swiss psychologist
by a prince charming or a fairy
named Carl Gustav Jung in his work
godmother is found across culture.
entitled Archetypes and Collective
Many studies conclude that stories like
Unconsciousness
Cinderella are found worldwide not
unconscious’ or “inherited in the
from beginning to ending, but also
structure of brain” (Jung 1962, as cited
varied at the same (Cox’s (1893),
(1958),
Thompson
in Huck et al 2004, p. 236). Simply
(1958),
put, collectitive unconcious can be
Aarne and Thompson (1961), and
understood as the universal images of
Sierra (1992)). This study focuses on
certain thing that people have as their
woman archetypal character and motif
in
Indonesian
folktales
and
Jung
proposes a term called as ‘collective
only with the same general framework
Propp
(1961).
basic consideration to take action. It is
the
believed that these universal images
comparison of them with the European
bring similar universal values which
counterparts. The purposes of the
are once manifested in the recurrent
study are to find the archetypal
characters in mythology, folklore, or
characters and motifs of woman in
literature in the form of archetype. For
Indonesian folk tales and to identify
instance a well-known Greek myth of
the similarities and differences of
Oedipus which highlights the story of
motifs and characters of woman
mother-son incest is found across
archetypes between Indonesian and
cultures with quite a similar viewpoint,
European folk tales in order to draw
that mother-son romantic relationship
is
22
banned
and
completely
Passage2013, 1(1), 21-30
in
character of mother is often associated
archetype and collective unconscious
to the role of mother as the child
theories
in
bearer and care taker for her children.
psychological field, but also literary
The second woman archetype is the
studies such as characters and motifs.
maiden.
unacceptable.
The
is
Jung’s
not
research
concept
only
on
characters and motifs
applied
to
Jung,
the
archetype of the maiden in a story is
archetype
often described as desirable and pure
have been
young woman. The maidens are often
conducted by many researchers such
depicted as the beautiful, pure, and
as in the work of Cox’s (1893), Propp
desirable by man. Eisendrath (1999)
(1958), Thompson (1958), Aarne and
argues that most of the heroines of
Thompson (1961), and Sierra (1992).
children’s
Those studies are produce one general
stories
like
Cinderella,
Snow White, Sleeping Beauty, and
premise that all tales have similar
Beauty and Beast are maidens. The
‘blueprint’ with some modifications
third archetype is called the wise old in
which makes them varied, but remain
which Jung describes as a spiritual
the same.
Jung
According
archetype in disguise who is protective
identifies
five
archetype
and representing wisdom. The wise old
characters in mythology, folklore, and
man or woman also gives the aids to
literature namely the mother and her
the hero or heroine to complete the
counterpart the maiden, the child
quest or test. Jung describes the
(including the child hero), the hero,
archetype character of the child in
and the wise old man or woman (Jung
fiction as the naïve and inexperienced
1969, cited in Garry and El-Shamy
who often be fooled by his or her
2005, p. xvi). The archetype of mother
naïveté. They go through the process
in fiction seems to be related to the
of individuation, just like the hero. The
natural characteristics of a mother
last archetype, but not the least, is the
which are nurturing, soothing, and
heroine which is exposed for her role
nurturing. Therefore, the archetype
as the rescuer for their own life or
23
Riska Karina Rosliana
Women Archetype Characters and Motifs in Three Indonesian Folk Tales
other’s life. The character of the hero
Thompson’s
often goes through the quest or leaving
Literature
the home to gain maturity. Jung (as
enlarged by The American Folklore
cited in Garry and El-Shamy 2005)
Society (1955-1958). The works are in
uses the term of individuation to
the
describe the stages when the hero
codification of narrative elements in
(mostly the child or the young adult)
folklore including folk tales, ballads,
goes through the quest to be more
myths, fables, and so on.
distinct and independent.
form
The
One prominent study of archetype
Motif-Index
(1932-1936)
of
motifs in folklore is the work of Stith
of
codification system are as follows:
Identity Test: Recognition
H0. Identity Test
H10. Recognition to common knowledge
H20. Recognition by resemblance
H30. Recognition through personal peculiarities
H50. Recognition by bodily marks or physical attributes
H51.
Recognition by scar
H51.1. Recognition by birthmark
H200. --- H299. Test of truth
H1570. --- H1599. Miscellaneous test
24
Folk
is
and
Thompson’s
classification
H. Test
H0 --- H199.
which
classification
examples
Motif-Index
in
and
Passage2013, 1(1), 21-30
In
this
study,
the
and establish woman archetypes and
Thompson’s
motifs of Indonesian folk tales.
codification is used to identify the
structure or plot of the data from each
D. DISCUSSION
Indonesian folk tales and its European
The study shows that the archetype
counterpart to be compared as the
characters in Indonesian folk tales are
basic archetype analysis.
presented by the archetypes of the
C. METHODOLOGY
mother, the wife, the maiden, the child
heroine, and the wise old woman. The
The study employs qualitative
analysis
data show that the archetype characters
approach. The data are analyzed
of the mother, the wife, and the child
through several steps. First, the woman
heroine are against the characteristics
characters are classified into major
of women archetype of the European
woman archetypes in folk literature
counterpart as proposed by Jung. For
proposed
by
classified
women
study
with
the
content
Second,
the
example, the archetype character of the
characters
are
mother in Indonesian folktale are
identified and with reference to the
presented in a more indifferent and
established
non-nurturing manner.
Jung.
pattern
of
archetypal
characters and motifs by Thompson as
“’You
the codification basis to see the
ungrateful
structure or plot of each Indonesian
tales
and
European
tales.
wretched,
son!’
said
Dayang Sumbi as she hit
These
Sangkuriang
codification units are also used to
in
the
forehead with her spoon.
identify the cross-culture comparison
Sangkuriang
between Indonesian and European folk
was
wounded and bleeding”.
tales which finally concluded to find
(Samsuni, 2011:113)
25
Riska Karina Rosliana
Women Archetype Characters and Motifs in Three Indonesian Folk Tales
What seems to be put forward by
because he was born here
this event is the idea of educating the
on earth”. (Sugiura and
children how to respect their parents,
Honda, 2001: 9)
particularly how a son should be
Another archetype character in this
respect his father. In fact, this scene is
study
memorable and important because it
Jung’s
social value to her son, that a son must
archetype
theories.
In
Indonesian folktales, the wife is not
not kill his father. Besides, this event
characterized
is one of factors which made Dayang
not
the
of the wife are also different from
mother who passes the moral and
is
through
archetype of the mother, the qualities
indicates Dayang Sumbi’s role as a
character
presented
characters of the wife. Like the
triggers the story to develop. It
Sumbi
is
as
inferior
to
her
husband. It is shown for example:
clearly
‘You opened the lid.
perceived as a nurturing mother.
You did the one thing I
The data also show that Nawang
asked you not to do’. ‘If
Wulan as the second archetype mother
my powers are seen by a
of the data gives up her son and leaves
mortal being like you’,
him with his father in the earth without
she
much regret described in the text. This
explained
sadly,
‘then they disappear’”.
event indicates that Nawang Wulan is
(Sugiura
a selfish mother because she chooses
and
Honda,
2001:8-9)
to abandon her son when she has the
In
choice to stay and live with her son in
spite
of
showing
submissiveness in front of her
the earth.
husband, Nawang Wulan shows her
“’I am going back,’
autonomous attitudes when she
she (Nawang Wulan) said
decides to leave as she discovers
to her husband. But I
that her husband is untrustworthy.
can’t bring our child,
26
Passage2013, 1(1), 21-30
The similar tendency also appears
for the two of them”.
in the archetype character of child
(Sugiura and Honda, 2001:
heroine of Bawang Putih in the tale of
26)
Bawang
Merah
Bawang
Bawang
Putih’s
characterizations
change
as
the
tale
Putih.
reaches
Compared to her companion,
Cinderella, Bawang Putih goes
its
through the process of individuation
complication. Bawang Putih becomes
described by Jung (Jung, cited in
strong, courageous, and active. She
Garry & El-Shamy, 2005). Bawang
goes through the quest for Bawang
Putih leaves the home and goes
Merah’s clothes which leads her to the
through the quest in search of
adventure. Although the text informs
Bawang Merah’s clothes. She faces
that the changes on Bawang Putih’s
some obstacles like she has to ask
traits is driven by her fear to her
stepmother
and
the cattle farmer and horse rancher
stepsister.
for the direction. She also has to
Nevertheless, the text indicates that
face the strange old woman and do
she is fighting for her life, freeing
the favors from her. Bawang Putih
herself from fear, facing the eerie old
can
woman, and changing her own life,
conquer
her
fear
and
uncertainty. Her good nature helps
unlike Cinderella who is passively
her to pass the test She gains the
waiting for the prince to find her and
pumpkin with full of treasure inside
change her fate. The changes of
as the reward for her generousity.
Bawang Putih’s character traits are
E. CONCLUSION
constructed through text, for example:
The study showed that through
“It felt very strange and
eerie inside. But Bawang
their
Putih somehow found the
Indonesian women are presented as
courage to clean the rooms
more active and assertive compared
and help to prepare a meal
to their European counterparts who
27
archetype
character,
Riska Karina Rosliana
Women Archetype Characters and Motifs in Three Indonesian Folk Tales
are submissive and passive. These
Wanted. New York: Three
facts reject the stereotyped views of
Rivers Press.
Indonesian
women
submissive,
as
and
passive,
Garry, J., & El-Shamy, H. (2005).
unattractive
Archetypes
women. The data showed that
Folklore
Indonesian folk tales are more
feminist
than
their
and
and
Motifs
in
Literature
A
Handbook. New York: M.E
European
Sharpe.
counterparts in a way they construct
women characters to be more
Gay, L., Mills, G. E., & Airasian, P.
independent apart from the men
(2006). Educational Research:
partnership.
Competencies for Analysis and
Applications Eighth Edition.
BIBLIOGRAPHY
New
Cox, M. R. (1893). Cinderella: Three
Hundreds
and
Variants
of
Forty-five
Heiner, Heidi Anne. (2007). The
Cinderella,
Annotated Swan Maidens. 23
August
Abstracted and Tabulated with
Discussion
of
(2002,
January
from
wanmaiden.
Huck, C. S., Kiefer, B. Z., Hepler, S.,
The Folklore Society.
T.
2012.
http://surlalunefairytales.com/s
Medieval
Analogues, and Notes. London:
Eiland,
Pearson
Education, Inc.
Catskin, and Cap O' Rushes,
a
Jersey:
&
26).
Hickman,
J.
(2004).
Children's Literature in the
Retrieved March 23, 2012,
Elementary School. New York:
from Eiland's Online English
McGraw Hill.
Materials.
Jerrard, J., Killion, B., Quattrocki, C.,
Eisendrath, P. Y. (1999). Woman and
Ellis, T., Nilles, B., Salvati, J.,
Desire: Beyond Wanting to Be
et al. (2007). Library Classics:
28
Passage2013, 1(1), 21-30
Treasury of Bedtime Stories.
the
Lincolnwood,
Divorce and Remarriage (30) ,
Illinois:
D.
(2010).
Cerita
Journal
of
115-148.
Publications International, Ltd.
K,
Literature.
Nikolajeva, M. (2002). The Rhetoric of
Rakyat
Nusantara. Jakarta: PT Bhuana
Character
Ilmu Populer.
Literature. Lanham: Scarecrow
Studies.
Nodelman, P. (2008). The Hidden
London:
Adult:
Routledge.
Krippendorff,
K.
(2004).
Children's
Press, Inc.
Klarer, M. (1998). An Introduction to
Literary
in
Defining
Children's
Literature.
Content
Baltimore,
Maryland:
Analysis: An Introduction to Its
Johns
Hopkins
University Press.
Methodology Second Edition.
Peck, J., & Coyle, M. (2002). Palgrave
California: Sage Publication
Key Concepts Literary Terms
Inc.
and Criticism (3rd Edition ed.).
Madran, C. Y. (2004). An Archetypal
New
Analysis of E. M. Forster's
York:
Palgrave
Macmillan.
Fiction.
Propp, V. (1984). Theory and History
McCabe, J., Fairchild, E., Grauerholz,
of
L., Pescosolido, B. A., & Tobe,
Folklore.
Minneapolis:
University of Minnesota Press.
D. (2001). Gender in Twentieth
Book:
R.G. Collingwood edited by David
Patterns of Disparity in Title
Boucher, W. J. (2005). The
and Central Characters. Sage
Philosophy
Publication , 199.
Studies in Folktale Cultural
Century
Children's
of
Echantment:
Criticism and Anthropology .
Nielsen, L. (1999). Stepmother: Why
so much stress? A Review of
29
Riska Karina Rosliana
Women Archetype Characters and Motifs in Three Indonesian Folk Tales
New York: Oxford University
Literature. New York: Garland
Press, Inc.
Publishing, Inc.
Sugiura, K., & Honda, K. (2001).
Samsuni. (2009). Sangkuriang: The
Legend of Mount Tangkuban
Asian
Parahu. 30 Juni 2012. from
Indonesian Tales of Treasures
www.ceritarakyatnusantara.co
and Brides. California: Heian.
m.
Folktales
Retold:
Thomas, R. M. (2003). Belnding
Oryx
Qualitative and Quantitative
Multicultural Folktale Series:
Research Method in Theses
Cinderella.
and Dissertation. California:
Sierra,
J.
(1992).
The
Westport,
CT:
Corwin Press.
Oryx Press.
Society,
A.
F.
(1968).
Propp:Morphology
Thompson, S. (1955-1958). Motif-
Vladimir
of
index of folk-literature : a
the
classification
Folktale.
Stories,
narrative
elements in folktales, ballads,
Stephens, J., & McCallum, R. (1998).
Retelling
of
myths,
Framing
fables,
mediaeval
romances, exempla, fabliaux,
Culture: Traditional Story and
jest-books, and. Bloomington:
Metanarratives in Children's
Indiana
30
University
Press.