Zeitschriftenartikel zum Thema „Javanese Poets“

The relationship between language and environment has been a hot topic for decades. This study aims at finding out how the Javanese of Tegal dialect is used in poems written by the local poets of Tegal. The research uses Eco linguistics as well as dialect theories. The data are collected through library and interview methods. The results show that the authors of Poems in Javanese of Tegal make use of the local dialect in expressing their thoughts. The use of local dialect indicates by the use of local Javanese vocabulary and also the way the words are pronounced. The findings shows that the authors’ choice of the dialect is closely interrelated with the environment where they live.

Serat Baron Sakendher (SBS) is one of the classic Javanese works that narrates the relationship between the Javanese and the Belanda. The SBS script was written in the post-Java war of 1830, when the south-central part of Java was politically completely controlled by the Belanda. The kings and aristocrats in the four Javanese palaces were very submissive to the authority of the VOC as well as being an extension of the power to suppress and explore the population. SBS became the legitimacy of the Javanese king's power over his people as well as the history of the presence of white people. SBS was written by Ngabei Yudasara and later developed by Carik Sasanapustaka. In four Javanese courts, the SBS script was rewritten by different authors during the reign of the same king and duke. Until now, through catalog searches, 21 SBS scripts were found with different panedhak and in different years. It is narrated that at first the presence of Baron Sakendher (BS) to Java was to trade and expand the territory. But when he arrived in the Mataram area, he lost to Panembahan Senopati, the first Mataram King. Finally, BS and his brother made up their mind to serve the Javanese rulers by changing their form into subtle creatures who served and protected the King of Mataram. This narrative reverses with the orientalism narrative which is echoed by the west against the east. West as the ocean and east as the other. Javanese poets view the presence of westerners on the contrary from the discourse of orientalism. West was seen by Javanese poets as someone who came to serve the Javanese rulers.

This article focuses on discussing Javanese asceticism in Serat Kalatidha. The purpose of this study is to identify the concept of Javanese culture in Serat Kalatidha. The data were extracted through the text analysis techniques of Serat Kalatidha. Text analysis is conducted with a structural analysis approach that focuses on the concept of Javanese asceticism. The results of the study show that Serat Kalatidha by Ranggawarsita contains the values of Javanese philosophy which is the basic foundation in Ranggawarsita's thinking. Serat Kalatidha teaches philosophy on how to deal with developing conditions. There are some wise attitudes shown in Serat Kalatidha described by the poets which are considered as a very useful advices when dealing with a particular situation or challenge of life.

Ranggawarsita as a cultural observer in his era, has a distinctive feature of his own compared to other Java poets. The name of R. Ngabei Ranggawarsita has been attached so much with the life of Javanese until this time. Zaman edan concept in his work Sera/ Kalatidha has become an icon of Javanese thought over the time. The poet has to be known as a Java poet. Whereas, since young Ranggawarsita lived in Islamic culture situation in complience with the dynamic of Javanese life journey. That way, Ranggawarsita can put the Javanese values correlated with Islamic theory in order. Ranggawarsita has a deep understanding toward Javanese and Islamic culture that are expressed in his works, such as Serat Kalatidha, Serat Supanalaya, and Sera/Wedharaga. The analysis of this paper proves that Ranggawarsita can express harmony thought or the equilibrium between Javanese and Islamic thought.

This paper aims to understand the Javanese mystical teachings from the Islamic point of views. By examining the development of Javanese mysticism in the suluk literatures, especially those written in Pegon manuscripts, this paper tries to trace back the position of Islam in the mystical dimension of the Javanese people, especially in the idea of waḥdah al-wujūd. This concept teaches the Oneness of God, who is the ultimate source of all existence. Nothing possesses an existence except it is derived from Him. It makes an analogy of creatures and the Creator as the rays of sunshine. Taking all the general Javanese esoteric ideas in the manuscripts studied, the vital point this paper made is that the concept of the unity between the servant and the Lord, which is the deep-rooted doctrine in Java, is genuinely rooted in Islamic teachings. Another finding of this study is concerned with the critical role of pesantren tradition in the dissemination of waḥdah al-wujūd as clearly shown in many Pegon manuscripts. Therefore, the accusation that the “pantheistic” feature in Javanese mysticism is solely attributed to poets, not Islamic scholars, is rejected.

Javanese manuscripts as the legacy of ancestors and poets contain important values related to character education and moral values. Manuscript of Serat Wulang Darmawiya (SWD), for example, promotes character education through laku batin. The values of character education are fundamental to internalize and implement within the life of Javanese. Javanese poets in the past inherited the noble values through a lot of literary works. This article discusses the values of character education in SWD. Using text-based qualitative research methodology, the values of character education in SWD were analyzed with content analysis. Serat teaches values of character education regarding the importance of breastfeeding as a process of building an intimate relationship between children and parents (mother). At the same time, it also explains the importance of communication between children and parents during education process, the principles of child education, and the role model and advice from the parents to the children. In addition, the philosophy of SWD is closely integrated with Islamic teachings.Naskah-naskah Jawa peninggalan para leluhur dan para pujangga, sarat dengan nilai pendidikan karakter dan budi pekerti luhur. Naskah Serat Wulang Darmawiyata (SWD) memiliki keunikan pada penanaman nilai pendidikan karakter khas Jawa, yakni membentuk anak mandiri dan cerdas berdasarkan laku prihatin. Nilai-nilai pendidikan karakter bagi masyarakat Indonesia merupakan hal yang amat penting untuk dimiliki dan diterapkan dalam kehidupan berkeluarga dan bermasyarakat, demikian pula dengan masyarakat Jawa. Para pujangga Jawa masa lalu telah banyak mewariskan nilai-nilai luhur melalui berbagai karya dalam sastra Jawa. Artikel ini secara khusus membahas tentang nilai-nilai pendidikan karakter dalam SWD. Dengan menggunakan metode penelitian kualitatif berbasis teks sastra Jawa, naskah yang memiliki makna nilai-nilai pendidikan karakter dianalisis dengan metode analisis isi. Dalam serat tersebut, terdapat nilai-nilai pendidikan karakter tentang pentingnya menyusui sebagai proses kedekatan anak dengan orang tua (ibu). Selanjutnya dalam serat tersebut, dijelaskan pula tentang pentingnya pendidikan komunikasi anak dan orang tua, prinsip-prinsip mendidik anak, dan keteladan serta nasehat orang tua terhadap anak. Selain itu, falsafah dalam SWD memiliki hubungan atau terintegrasi dengan ajaran Islam.

Panji’s literary works in Java became a form of sign or pasemon in Javanese culture. Many of the narratives in Panji’s texts relate to Javanese traditional historiography. This research will focus on the story about Putri Wandhan in the Panji Jayalengkara Angreni text and the Babad texts. This study uses a comparative literary method and considers that Putri Wandhan’s narrative in the Panji Jayalengkara Angreni text contains a collective memory of history in the past. The emergence of the narrative about Putri Wandhan in Panji Jayalengkara Angreni and other Javanese literature is due to the contact of the Javanese and East Indonesian people in the past. In this study it was found that the story of Putri Wandhan describes the efforts of Javanese poets in the past to show the superiority of the Javanese kingdoms. In addition, this story is also a pasemon of the political life of the kingdoms in Java in the past. The story of the concubine from Wandhan in Panji Jayalengkara Angreni is an attempt to describe the superiority of the Javanese kings and an effort to honor their ancestors.

<em>The form of Balinese literature is basically a pattern of transformation of Balinese literature. Balinese literature is a collection of fictional works in Balinese and Old Javanese (Kawi). Of course, these fictional works contain imaginative elements (kakawian) created by the creativity of Balinese and Old Javanese authors (poets). Balinese literature has various types and can then be classified into kakawin, parwa (kanda), kidung, babad, geguritan, peparik, wewangsalan, satua, short stories, novels, and modern Balinese poetry. In terms of storyline, Kekawin Ramayana also has differences with Ramayana Walmiki. At the end of the story, when Rama and Sita return to Ayodya, they separate again, so Rama and Sita do not live together, according to Walmiki's version. In the Javanese version, Rama and Sita live together in Ayodya.</em>

The role of family has significant in maintaining harmonious life for each family member. For playing the family role, it is possible for the family refers to an ethical value. Javanese people maintain highly respectable values from their ancestors transferred by poets in the past. One of them was Mangkunegara IV, a descendant of King Surakarta who was prolific in producing some forms of literary works, such as serat piwulang. This article is a discussion about Serat Salokatama, one of Mangkunegara IV’s valuable works. By using literature study and hermeneutical approaches, this study found out some important findings related to Javanese ethic. First, the Serat Salokatama is a work which contains some values important for family life. The most important is religious value as it will produce other respectable values, such as honesty, vigilant, patient, politeness, and kindness, humble, toughness and never giving up easily, and not arrogant. Second, the Serat Salokatama also teaches its readers the significance of interactive and constructive dialogue to maintain good family lives.

Purpose: This article tries to overview different forms of rhyme in Javanese literature to exhibit the existence of possible distinct rhymes in it. This article puts more emphasis on the logical riddle of wangsalan, which invites readers to frown at it. This kind of rhyme may be unclassified in English so that it may be proper to name it cognitive rhyme. This article also tries to see the use of repetition in a Javanese pun, which can be considered to be a dirty joke. Methodology: The data of Javanese literary works, which are obtained from fossilized wangsalan and puns found in songs and sayings, are analyzed in terms of the existing repetitions. Results: Hidden rhyme and dirty joke in Javanese pun lead results that Javanese literature like literature in common employs repetition or parallelism to produce good memory of the words. Implications: Repetition is the heart of language art. Whether a whole or a part, different linguistic units repeat their beats to create good feats. Poets make use of repetition to cling words’ images in our mind. Livingstones (1991) says: ‘A good rhyme, a repetition of sound, pleases us. It gives a certain order to our thoughts and settles in the ear pleasantly.’ As a universal phenomenon, rhyme exists in all literary languages including in Javanese literary texts and oral tradition.

The Philosophy Axis of the Yogyakarta Palace reflects the human journey from a fetus, a baby, growing into a child, a teenager then an adult human being, having a family, aging and finally dying. The complete journey of human life is reflected in the philosophical expression of Sangkan Paraning Dumadi as the teachings of Islam are innalillahi wa innailaihi roji'un (QS. Al-Baqarah [2]:156). The philosophical concept of the heritage of the Javanese poets by Prince Mangkubumi is manifested in the form of the Yogyakarta Palace architecture. This article reviews the relationship of religion and culture with the Axis of Philosophy of Yogyakarta City within the framework of Javanese-Islamic typology through a phenomenology-hermeneutics of Husserlian-Heideggero-Gadamerian.

This study was inspired by the fact that the study in the field of children literature is rarely found in today's era, especially the study of poetry. Even though there are a lot of children poetries written by child poets nowadays, but still the research in children poetry is still low. Therefore, the researchers conducted this study with hope to enrich study in the field of children literature. Specifically, this study limited its objective into describing the language features of Indonesian children poetry. To pursue such objective, this study employed 50 titles of Indonesian children poetry written by child poets. The data of those poetries were collected by reading and writing (recording). Once the data were collected, they were analyzed in descriptive qualitative. The results show that the linguistic features of Indonesian children poetry written by child poets is realized on word shortening, meaning deviation, the use of foreign language words and Javanese language.DOI:https://doi.org/10.24071/ijhs.2018.010208

Tourism promotion is performed in purpose. It can be natural event to stimulate interest for tourists who are passing,watching, listening, or reading and feeling not in purpose. It is associated to the natural portrayal in literary works. Thenature was portrayed by the poets or writers with personal feeling and they do not tend to refer to tourism purpose. Even,sometimes the poets hide the beautiful nature illustration from public. They just want to express their feeling and do notwant people to do agree for the beauty of nature they portrayed. Those problem is formulated in this research. Naturalcondition appeared in literary works and it never be addressed for tourism promotion. The date of this research is oldand modern Javanese literature to reveal how the poets portrayed nature through ages. This research was initiated fromassumption that poets or writers performed observation about nature and circumstance, then they were expressed in theirliterary works. This research proved that nature is still used by poets or writers to assist, complete, and give storysituation AbstrakPromosi wisata tidak selalu dalam bentuk kesengajaan. Ia bisa berupa keadaan alamiah yang tidaksengaja bisa menimbulkan daya tarik bagi wisatawan yang kebetulan melihat, mendengar, atau membacaserta merasakan. Demikian halnya dengan pengambaran alam yang terdapat dalam karya sastra. Iadilukiskan oleh penyair atau pengarang dengan perasaan personal yang tidak harus selalu ingin ditujukanuntuk tujuan wisata. Bahkan, kadangkala penyair ingin menyembunyikan keadaan alam yang dirasakanindah memesona itu dari masyarakat luas. Ia hanya ingin menuliskan perasaannya dan tidak perluorang lain mencari kebenaran keadaan alam yang dilukiskannya. Hal-hal seperti itulah yang diungkappada penelitian ini. Keadaan alam yang muncul dalam karya sastra dan tidak pernah ditujukan untuktujuan promosi wisata. Data penelitian ini ialah karya sastra Jawa Kuno dan Jawa Modern untukmengetahui bagaimana penyair atau pengarang melukiskan alam pada masing-masing zaman. Penelitianini berawal dari asumsi bahwa penyair atau pengarang melakukan observasi terhadap alam danlingkungannya kemudian muncul dalam karya-karyanya. Penelitian ini membuktikan bahwa alam seringdigunakan oleh penyair atau pengarang untuk mengiringi, melengkapi, dan menambah suasana cerita.

The development of Sufism studies in Java has been carried out by the palace poets in Surakarta in the 19th century. Various works resulting from the Islamization of classical Javanese literature indicate the efforts to transition from Hindu-Buddhist tradition. Along with the Islamization process in Java, in the early 19th to 20th century, Western Orientalists came with a mission to civilize the natives through the Gospel. This article discusses the teachings of Sufism in a Javanese fairy tale entitled Jaka Sakbar and its correlation to the evangelization process in Java in the 19th century. The Jaka Sakbar fairy tale is one of the story fragments in the collection of fairy tales in the Kěmpalan Dongeng Manuscript Collection of the Widyapustaka Library, Pura Pakualaman, Yogyakarta. Fairy tales are often characterized as mere fictional stories that serve only as entertainment. However, fairy tales do not rule out the possibility of becoming a means of social and religious teaching by adding elements of knowledge in a story. In addition, Sufism teachings were quite popular in Java in the 19th century, along with the growth of tarekat in the Nusantara, especially the reconciliation between Sunni Sufism and philosophical Sufism. The intention to include Sufism teachings in manuscripts in Java is a symbolic resistance by the Islamic Mataram Kingdom and Javanese poets due to colonial domination (missionaries) in the 19th century. === Perkembangan studi tasawuf di Jawa, setidaknya telah dilakukan oleh para pujangga Istana di Surakarta pada abad ke-18 hingga 19. Berbagai macam karya hasil Islamisasi terhadap karya Sastra Jawa periode klasik menujukkan terjadinya upaya peralihan dari tradisi Hindu-Budha. Bersamaan dengan proses Islamisasi di Jawa, pada rentang awal abad ke 19 hingga 20an, para Orientalis Barat datang dengan misi pemberadaban melalui kitab injil kepada kaum bumiputera. Artikel ini membahas mengenai ajaran tasawuf dalam sebuah Dongeng Jawa berjudul Jaka Sakbar dan korelasinya terhadap proses internalisasi wacana pemberadaban di Jawa pada abad ke-19. Dongeng Jaka Sakbar merupakan salah satu fragmen cerita dari kumpulan dongeng dalam Naskah Kěmpalan Dongeng Koleksi Perpustakaan Widyapustaka Pura Pakualaman Yogyakarta. Dongeng seringkali dicirikan sebagai sebuah cerita karangan belaka yang berfungsi sebagai hiburan fiktif. Akan tetapi, dongeng tidak menutup kemungkinan menjadi sebuah sarana pengajaran sosial dan agama dengan menambahkan unsur-unsur pengetahuan dalam sebuah cerita. Selain itu, ajaran tasawuf cukup digemari di Jawa pada abad ke-19 bebarengan dengan pertumbuhan tarekat di Nusantara khususnya rekonsiliasi antara tasawuf sunni dan tasawuf falsafi. Adanya intensi untuk memasukkan ajaran tasawuf dalam manuskrip di Jawa, merupakan salah satu bentuk perlawanan simbolik oleh Kerajaan Mataram Islam dan pujangga Jawa akibat dominasi kolonial (misionaris) pada abad ke-19.

The purpose of this study was to analyze the style of language about the portrayal of female characters in Damarwulan Manuscript, namely Kencana Wungu queen. The position of women in Serat (Manuscript) Damarwulan is a very interesting part. Kencanawungu figure is a woman who is able to have power, different from the role of women found in other classical texts that only make women as Queen/king. The style of language used to describe the figure of Kencana Wungu who has the highest beauty and position is to use a panyandra (language style). Women actually have power like two blades. Women are able to destroy the world of men, but on the contrary women can also reassure the world. The study used to analyze the style of language about beauty and also the position of Kencana Wungu in Damarwulan Manuscript is an ethnolinguistic study. The method used in this study are two, namely the foundation method and ethnographic method. The foundation method is used because the object of this research is in the form of an old text, namely Damarwulan Manuscript. Ethnographic methods are used to analyze the style of language and the position of women based on Javanese cultural perspectives. This study seeks to show the style of language in expressing feelings of love and trying to describe the position of women in Damarwulan Manuscript. In addition, this research can contribute to ethnographic research, especially in the field of ancient manuscripts. Through this study, we can find out the richness of the repertoire of language styles owned by the Javanese. Javanese poets use panyandra which is related to the beauty of nature and fauna to describe the beauty of a woman. Keywords: language style, beauty, female position, Damarwulan Manuscript

Muslim movements in the twentieth century have sought to develop new reading and listening publics attuned to the messages of reform and renewal. Across Asia and the Middle East, scholars, poets, and activists have created distinctive vernacular genres intended to make the words of scripture widely available. Newspaper columns, quickly printed tracts, and popular poetry have been shaped to the task of tafsīr, the interpretation of scripture. International networks of printers, booksellers, and, more recently, television producers have extended the reformist's reach far beyond older networks of scholarship and communication (Metcalf 1990; Eickelman 1992). Often modernist writers have signaled their break with past scholarly traditions by writing in vernaculars, sometimes developing new vernaculars. They wrote in Turkish, Urdu, Bengali, or Indonesian, rather than the traditional religious and literary languages of Arabic, Persian, and Javanese (Anderson 1990; Freitag 1988; Mardin 1989).

Abstract ‘Save our poor people from the vulcano poets’. The literary reception of the Krakatoa disaster of 1883 in the Netherlands and Indonesi On August 27, 1883, the volcano Krakatau in the Dutch East Indies erupted and collapsed, causing the deaths of tens of thousands, mainly as a result of devastating tsunamis. The Krakatau eruption was one of the first disasters to take place beyond the Dutch boundaries that received so much attention in the Netherlands. Because the Indies were a Dutch colony, a response of the motherland was rather logical. In many places, charity activities were organized to raise money for the victims. This article focuses on the Dutch and Indonesian literary reactions on the Krakatau disaster. For this purpose, two scholars work together: one specialized in Dutch Literary Studies and the other one in Indonesian Languages and Cultures. In the first part of the article several Dutch charity publications are analysed; the second part focuses on Indonesian sources (in Javanese and Malay). How and to what extend did the reactions in the Netherlands and Indonesia differ?

This study aims to describe the views of Islamic Javanese ideas in Sindhunata's poem Air Kata Kata. The Islamic Javanese view is obtained by using the deep interpretation of the symbols in the texts and images/ paintings contained in poems by a Catholic Pastor who has a humanist spirit and is familiar with Islamic Javanese life. Based on this research, the researcher obtained an Islamic Javanese view in Catholic poet’s works who was close to the daily life of Moslems. Therefore, his works are influenced by Islam and the life of Moslems.

Directives are utterances intended for the listeners or readers to do something as desired by the speaker or the author. Poem as one of the literary works is the expression of the author delivered to the readers. As an expression of the author's, poems probably contain more expressive utterances than the directive ones. This paper attempts to examine poems written by Lanang Setiawan, a local writer from Tegal who wrote lots of poems in the Javanese dialect of Tegal. The poems written by Lanang will be used as data to be analyzed by using pragmatic theory.Keywords: directive speech acts, Javanese language of Tegal, Tegal literature

An accent is a way of pronouncing something unique in a particular language, and specific to a country, region, or social class. Recently, the 'Javanese accent' trend has been buzzing on social media. The viral Java accent began when a content creator from Surabaya, East Java, made a video that featured Javanese accents in several words. This research investigates the phenomenon of Javenglish which occurs when Javanese people speak English with a Javanese accent in Instagram Reels @natkenira. This research employs a descriptive qualitative approach. The analysis shows that 60 English words from 7 Reels videos are pronounced with a Javanese accent. Indonesian speakers of English can be influenced by the accent/dialect of their mother tongue when speaking English. This causes variations of letter sounds, both consonants and vowels. Javanese style in speaking English is sometimes related to the “medok” accent as the most recognizable characteristic of the Javanese language. This character may be difficult to remove because of genetic inheritance. An accent is a characteristic form distinctive by pronunciation, style, and features of a certain language often linked with certain social groups, usually, people hope members and groups of this social language use style or speech characteristics. There are 60 words with Javenglish pronunciation in the social media content of Instagram Reels @natkenira. Similar research is still possible to conduct and can provide input for this research. In further research, the number of research subjects can be added to get maximum results. Baru-baru ini, tren 'aksen Jawa' sedang ramai di media sosial. Awal mula viralnya aksen Jawa adalah ketika seorang content creator asal Surabaya, Jawa Timur membuat video yang menampilkan aksen Jawa dalam beberapa kata. Penelitian ini menyelidiki fenomena Javenglish (ketika orang Jawa berbicara bahasa Inggris dengan Aksen Jawa) di Reels Instagram @natkenira. Penelitian ini bersifat deskriptif kualitatif. Analisis menunjukkan bahwa 60 kata bahasa Inggris dari 7 video Reels diucapkan dengan aksen Jawa. Penutur bahasa Inggris Indonesia dapat dipengaruhi oleh aksen/dialek bahasa ibu mereka dalam berbicara bahasa Inggris. Hal ini menyebabkan variasi bunyi huruf baik konsonan maupun vokal. Gaya bahasa Jawa dalam berbicara bahasa Inggris terkadang dikaitkan dengan aksen “medok” sebagai ciri khas bahasa Jawa yang paling mudah dikenali. Karakter ini mungkin sulit dihilangkan karena pewarisan genetik. Aksen adalah suatu bentuk ciri yang khas melalui pelafalan, gaya, dan ciri-ciri bahasa tertentu yang sering dikaitkan dengan kelompok kelompok sosial tertentu, biasanya orang berharap anggota dan kelompok sosial ini menggunakan gaya atau ciri tutur. Aksen sebagai cara mengucapkan sesuatu yang unik dalam bahasa tertentu, dan khusus untuk suatu negara, wilayah, atau kelas sosial. Terdapat 60 kata yang mengandung Javenglish di media sosial Reels Instagram @natkenira. Penelitian serupa masih dimungkinkan untuk menambah dan memberikan masukan bagi penelitian ini. Pada penelitian selanjutnya, jumlah subjek penelitian dapat ditambah untuk mendapatkan hasil yang maksimal.

<div class="Section1"><p class="Iabstrak"><strong>Abstract: </strong><em>Pesantren Tegalsari was one of the most influential religious-education institutions in Java during 18-19 century. Those years were the golden era of Pesantren Tegalsari which was known as an institution that produced “pujangga” </em>(<em>Javanese intellectuals</em>)<em> and the people of Tegalsari village was well known for producing high quality of dluwang </em>(<em>traditional paper</em>)<em>. On the other hand, the 18-19 century itself was a time of turmoil, both socially and politically. Some events such as Geger Pacina </em>(<em>1742</em>)<em>, Javanese Succession War III </em>(<em>1746–1755</em>)<em>, Java War </em>(<em>1825-1830</em>)<em>, and Cultuurstelsel </em>(<em>1830–1917</em>)<em> were crucial moments in the history of Indonesia, especially in Java. At this point, the ulema </em>(<em>Islamic scholars</em>)<em> of Pesantren Tegalsari played an important role. Thought and attitude movements of ulema </em>(<em>Islamic scholars</em>)<em> in Pesantren Tegalsari had determined the existence of the pesantren and the economic cycle of local commmunity. Historical research with post-colonial political approach was used to study the thought and attitude movement of ulama </em>(<em>Islamic scholars</em>)<em> in Pesantren Tegalsari during 1742–1862. The result of this research shows that Pesantren Tegalsari had a political line to not engage in practical politics. This political line was followed by all the leaders of Pesantren Tegalsari. As the result, Pesantren Tegalsari developed into an institution that produced poets and transformed into a place to seek legitimacy in social, academic, and politic</em>.</p><p class="Iabstrak"><strong>Abstrak:</strong> Pesantren Tegalsari merupakan salah satu lembaga pendidikan-keagamaan yang paling berpengaruh di Jawa abad 18-19. Tahun-tahun tersebut merupakan masa keemasan dari Pesantren Tegalsari yang dikenal sebagai lembaga pencetak <em>pujangga</em> (intelektual Jawa). Bagi masyarakat Desa Tegalsari sendiri, tahun-tahun itu adalah masa perekonomian yang dikembangkan sedang mengalami pertumbuhan yang pesat. Desa Tegalsari terkenal sebagai daerah penghasil <em>dluwang</em> (kertas tradisional) berkualitas tinggi yang diekspor ke berbagai daerah. Di sisi yang lain, abad 18-19 sendiri merupakan masa yang penuh dengan gejolak, baik secara sosial maupun politik. Beberapa peristiwa seperti <em>geger pacina </em>(1742), Perang Suksesi Jawa III (1746-1755), Perang Jawa (1825-1830), dan kebijakan tanam paksa (1830-1917) merupakan momen-momen krusial dalam perjalanan sejarah Indonesia, khususnya di pulau Jawa. Pada titik inilah ulama Pesantren Tegalsari, sebagai salah satu pimpinan lembaga pendidikan-keagamaan paling berpengaruh di Jawa abad 18-19 sekaligus tokoh panutan bagi masyarakat sekitar, memiliki peranan penting. Gerakan pemikiran dan sikap dari ulama Pesantren Tegalsari menjadi sangat menentukan eksistensi pesantren dan perputaran roda perekonomian masyarakat sekitar. Penelitian historis dengan pendekatan politik-poskolonial akan digunakan untuk mengkaji gerakan pemikiran dan sikap ulama Pesantren Tegalsari tahun 1742-1862. Hasil penelitian menunjukkan bahwa Pesantren Tegalsari memiliki garis politik untuk tidak terjun dalam politik praktis. Garis politik inilah yang diikuti oleh semua pimpinan Pesantren Tegalsari. Hasilnya adalah, Pesantren Tegalsari berkembang menjadi lembaga pencetak <em>pujangga</em> dan menjelma sebagai tempat untuk men­cari legitimasi, baik secara sosial, akademik, maupun politik</p></div>

Karya sastra berbentuk puisi dapat diusahakan untuk memahami kebermaknaannya melalui satu diantara sekian caranya yakni apresiasi. Bentuk nyata apresiasi tersebut dapat dilakukan dengan paling tidak membaca teksnya, mendengarkan pembacaan teksnya dan atau bahkan secara jeli menginterpretasi teks sekaitan dengan konteksnya sekaligus. Data penelitian yang berupa tiga teks puisi Anak, Pangudarasane Cah Gelandangan dan Suling dinukil dari buku kumpulan puisi para sastrawan Jawa Modern yang pernah eksis. Melalui pendekatan interpretasi Semiotika Riffaterre puisi-puisi tersebut diinterpretasi melalui pemaknaan heuristik dan hermeneutik. Sedemikian sehingga didapati bahwa ketiga puisi Jawa Modern tersebut merupakan suatu sistem tanda. Ini artinya, untuk memahaminya diperlukan bukan hanya alih Bahasa Jawa ke dalam Bahasa Indonesia saja, melainkan juga mencari kaitan isi teks dengan konteks yang melingkupi puisi tersebut. Literary works in the form of poetry can be endeavored to understand their meaning through one of the many ways, namely appreciation. The tangible form of appreciation can be done by at least reading the text, listening to the reading of the text and or even observant interpreting the text in relation to the context at once. Research data in the form of three Javanese poetry texts Anak, Pangudarasane Cah Gelandangan and Suling quoted from the book collection of poems of Modern Javanese writers who once existed. Through Riffaterre's Semiotic interpretation approach, these poems are interpreted through the meaning of heuristics and hermeneutics. So that it was found that the three Modern Javanese poems are a sign system. This means, to understand it, it is necessary not only to transfer Javanese into Indonesian, but also to look for the relationship of the contents of the text with the context surrounding the poem.

Singir as Javanese poetry is not less noticed by literary experts. These poems were not recorded in various catalogs of manuscripts, not recorded in the periodization of Javanese literature, and only a few experts examined them. Even though the population and tradition of singir still exist and develop until now. This paper tries to position the singir as a type of coastal literature while looking at its social functions. To uncover this problem, genre and sociology studies are needed. The results of genre studies show that the structure of singir is different from other types of Javanese literature, even different from Malay poetry. As for the sociology study, it was found that the singir had the functions of entertainment, education and teaching, and spiritual functions

Only recently has it become possible to attempt to reconstruct a history of Javanese music in the nineteenth century. The relevant primary and secondary sources, including Javanese poems and treatises, colonial writings and scattered references in various historical tracts are only now beginning to emerge from cold storage to be published, translated, and made more widely available. This article is a preliminary attempt to draw together from them an overview of Javanese music in the nineteenth century, adopting a musicological, cultural and historical approach which is based partly on my own fieldwork over the past twenty years. An understanding of nineteenth century musical developments is clearly important not only in its own right but also as a means of facilitating our comprehension of the contemporary artistic scene.

This study explores the acculturation of Islam and Javanese culture manifested through the Ronda Tetek Tradition in Gombang Village, Sawit District, Boyolali District, Central Java. Initially employed for night patrols, Rontek has evolved into traditional musical instruments and ceremonial practices. Over time, it has acquired an Islamic dimension, transforming into a musical accompaniment for Qasidah or Islamic poems. Employing qualitative methods, including participant observation and in-depth interviews, this research investigates the integration of Islamic and Javanese cultural elements in the Rontek tradition. The findings reveal that Rontek in Gombang Village has undergone acculturation with Islamic traditions, giving rise to a distinctive synthesis known as Javanese Islam. Despite its antiquity, Rontek continues to maintain its allure in Gombang Village, preserving local traditions while embracing Islamic influences.

The Wedhatama, a Javanese literary work by the King Mangkunegara IV contains philosophical teachings which are quite influential in ethical life. This paper aims at discovering the hidden meaning of the teachings which reveal an esoteric knowledge of worshipping in terms of its semantic point of view. This meaning is known through analytic and synthetic propositions in Gambuh canto associated with 4 different types of worship. Thus, the qualitative paradigm is used in which the data were obtained through library research. In this study, the synthetic proposition shows the breadth of the poet’s signifying esoteric intention that is about Javanese identity of prayer. It is revealed that the four types of worship –sembah raga, cipta, jiwa, and rasa –are said to coincide with what are usually referred to in Muslim Sufism as syariat. Keywords: Gambuh canto, the Wedhatama, Javanese identity of prayer, semantic proposition

Indonesia harbors diverse oral traditions, with a particular focus on Javanese traditions. Studies on oral traditions, especially those related to geguritan (poems), stories, and songs, often lean towards aesthetic analyses. However, there remains untapped potential for exploration, such as the exploration of local cultural elements underlying the contradictions in folklore. This article aims to elucidate these contradictions and delineate the paradigmatic concept of “anak polah bapa kepradhah” within the narrative of “Murwakala.” Conducted as a descriptive-qualitative study, this research employs Lévi-Strauss structuralism as a framework for interpreting, mapping and attributing meaning to empirical paradigms embedded in societal concepts. The objective is to address the contradictions and logical patterns inherent in society. Data for this study are derived from the observation of Javanese oral traditions related to wong sukerta. These observations are then juxtaposed with the narrative of “Murwakala,” as presented in the wayang performance of the ruwatan tradition, with a specific focus on the Javanese “anak polah bapa kepradhah” concept/value. The depth of meaning is further explored through the use of tables and diagrams. From a Lévi-Straussian perspective, it can be concluded that “Murwakala” and its associated value concept serve as logical tools capable of mapping paradigms, deciphering empirical contradictions (related to family relationships and power), and representing these dynamics in the cultural products and thoughts of Javanese society, both historically and in the contemporary context.

Indonesia sangat kaya akan ragam budaya dan bahasa. Keanekaragaman tersebut terejawantah dalam ungkapan-ungkapan khas, seperti pantun atau peribahasa, yang mencerminkan kearifan lokal masyarakat penuturnya. Budaya Jawa merupakan salah satu budaya besar yang bertahan hingga kini. Tulisan ini mengetengahkan kritik dalam ungkapan Jawa melalui kajian semantik kognitif yang bertujuan untuk mendeskripsikan ungkapan-ungkapan bahasa Jawa yang mengandung makna kritikan dan menguraikan makna filosofi dalam ungkapan-ungkapan tersebut. Penelitian deskriptif kualitatif ini menggunakan ancangan semantik kognitif. Metode yang digunakan adalah simak, agih, padan, dan wawancara mendalam (in-depth interview) dengan teknik sadap dan perluas. Dari hasil analisis, terdapat 24 ungkapan bahasa Jawa yang mengandung kritik dan memunculkan makna personifikasi, yakni perpaduan konsep yang sama antara sifat binatang atau tokoh manusia dan sikap serta perilaku manusia. Kritik yang terdapat dalam ungkapan-ungkapan Jawa tersebut digunakan sebagai media kontrol sosial. Indonesia is very rich in diversity of cultures and languages. Those diversity is manifested in specific expressions, such as poems or proverbs, that reflect the local wisdom of the speaker community. Javanese culture known as a great culture that survives until today. This paper explores criticism in Javanese expressions in a form of cognitive semantic study. The aim of this paper is describing Javanese expressions that contain critical meanings and describing philosophical meanings in those expressions. This qualitative descriptive study used cognitive semantic design. The methods used were simak, agih, padan, and in-depth interview with tapping and expanding techniques. The analysis founded 24 Javanese expressions that contain criticism and give rise to the personification meaning, namely the combination of the same concepts between the nature of animals or human figures with human attitudes and behavior. Criticism in those Javanese idioms are used as a form of social control.

This study examines the interpretation of the Qur'an using the Javanese tembang method in Gus Ali Muttaqin Purwodadi's recitation. The purpose of this research is to find out the meaning of denotation, connotation and myth in the tembang’s that have been described in Surah Ali-Imran verse 185, An-Nahl verse 123, Ar-Rum verse 2 and Al-Baqarah verse 172. Javanese tembang become a tool used by Gus Ali to explain the meaning of the content of the Qur'an. The poems in the tembang are designed in such a way according to the theme of the study. This study uses semiotic analysis by Roland Barthes, being able to answer some problems related to the meanings studied. Furthermore, the steps used in this study are: first, looking for the original meaning by translating the tembang into Indonesian, second, researching some words that can represent connotative meanings, third, analyzing the data has been obtained to get messages (myth) conveyed in these verses. The existence of this research will be able to contribute to the development of science in the field of semiotics of the interpretation of the Qur'an. In addition, the discussion studied also has a close relationship with Indonesian culture in the form of Javanese tembang’s.

The essay aims to review clashes in research methodologies for creative practices–especially Creative Writing–and to propose a possible solution to bridge it. A/r/tography–a research methodology developed based on the premise of art and art creation as a rhizomatic process/activity–is elaborated here as a middle ground between opposing schemes. The author’s project of writing a collection of bilingual poems based on classical Javanese song cycle–Sekar Macapat–is presented to illustrate how a/r/tography can be used to address various multiplicities and non-linear process in creative process.

One form of the local wisdom of the archipelago's ulamas in grounding the noble values of Islamic religious teachings, is the dissemination of the concepts and content of the hadiths of One form of local wisdom of the archipelago's scholars in grounding the noble values of Islamic teachings is the dissemination of the concepts and content of the traditions of the Prophet Muhammad ﷺ in Javanese language, modified with Arabic style and written in beautiful poetic strokes. The combination of these concepts is considered cooler, more interesting, and more familiar to the ears and souls of those who receive it from the Javanese community. This study aims to explore the concept of hadith thought of Abu Muhammad Al Hajawi and to determine the quality of the hadiths that are expressed in the form of Sekar Cempoko poems. The data analysis technique in this research is content analysis, in which researchers study and analyze the concept of Al Hajawi's hadith thinking. The results of this study show that Al Hajawi conveys the noble values of the prophet's traditions not with the original text but by translating them into the language of the local community and then making them more attractive by decorating them with literary art in the form of poems. As for the typology of the quality of the traditions that are highlighted in his verses in this manuscript, not all of them are categorized as sahih and hasan, there are some weak and even false hadith that he implies in some of his verses.

Galur Subdistrict is an area that has abundant art and tradition potential and is in great demandby its people. Unfortunately, the art performances and traditions that are carried out only aim merelyto continue what have been done through generations. On the other hand, the influx of modernarts has become a threat to preserving traditional culture, especially among young people who aresupposed to be the guardians of the traditions. Tis encourages Javanese Literature Study Programto carry out a community service program consisting of a series of training program as the StudyProgram’s concern and real action for cultural preservation.The training program is carried out through mentoring in motivating, counseling, education,discussion, and consultation. By using such mentoring techniques, it is expected that the result of theprogram will be optimum, namely raising public awareness to increase language literacy, knowledgeof literature, and the knowledge of the art performances they have. In turn, they will be able tomanage the performances as a professional art performance organizer in the region.The outcomes of the community service program comprise the increasing ability of participants inreading and writing simple texts using Javanese alphabet, participants’ ability to compose macapatsongs and sing them, the participants’ ability to write Javanese poems with the rinengga language,the participants’ ability create a series of dances and nursery rhymes to be performed, and theparticipants’ ability to become masters of ceremonies. In addition, three versions of Folklore aboutK.R.T Kertinegara are also collected

The purpose of this study is to examine the resistance of Javanese mysticism in the face of modernity and Islamism in the life of Iman Budhi Santosa as well as to analyze the emergence of radical subjects in the context of his poetry. This research uses a descriptive approach with Fairclough's Critical Discourse Analysis (AWK). Data collection techniques in this study apply the observing method, advanced note-taking techniques, and document review techniques. The results of the research show that (1) a study of the text dimension shows that there is a referential action towards the Javanese mystical tradition through metaphors in the poems of Iman Budhi Santosa; (2) The study of the dimensions of discursive practice shows that the aspect of text production in Iman Budhi Santosa's work departs from Javanese literature, especially Javanese mysticism; (3) The study of the dimensions of social praxis shows that there is a form of Javanese mystical resistance to modernist and Islamist discourses as well as radical actions carried out through 'moments of emptiness'. Based on the results, this research is important as part of linguistic research which eclecticly accommodates various perspectives and discourses, especially Critical Discourse Analysis (AWK), poststructuralist, radical psychoanalysis, and modernity discourse.AbstrakTujuan dari penelitian ini adalah menelaah resistensi mistik Jawa dihadapan modernitas dan Islamisme dalam kehidupan Iman Budhi Santosa sekaligus menganalisis munculnya subjek radikal dalam konteks kepenyairannya. Metode penelitian ini menggunakan diskriptif dengan pendekatan Analisis Wacana Kritis (AWK) Fairclough. Teknik Pengumpulan data dalam penelitian ini menerapkan metode simak dan teknik lanjutan catat, dan teknik telaah dokumen. Hasil penelitian menunjukkan bahwa (1) Telaah terhadap dimensi teks menunjukkan adanya tindakan referensial terhadap tradisi mistik Jawa melalui metafora dalam puisi-puisi Iman Budhi Santosa; (2) Telaah terhadap dimensi praktik diskursif menunjukkan aspek produksi teks dalam karya Iman Budhi Santosa berangkat dari kepustakaan Jawa khsusnya mistik Jawa; (3) Telaah dimensi praksis sosial menunjukkan adanya bentuk resistensi mistik Jawa terhadap wacana modernistas dan islamisme serta tindakan radikal yang dilakukan melalui ‘momen kekosongan’. Berdasarkan hasil pembahasan, penelitian ini penting keberadaanya sebagai bagian dari penelitian linguistik yang secara eklektis mengakomodir berbagai perspektif dan wacana khususnya Analisis Wacana Kritis (AWK), postrukturalis, psikoanalisis radikal, maupun wacana modernitas.

The purpose of this study describes the value of Javanese culture in the Tegalan GenduGendu Rasa Poetry Anthology by Pantura Lecturers and Teachers and describes the implications of research results on Indonesian learning in high school. This research is the source of the data in the form of an Anthology of Tegalan Gendu-Gendu Rasa Poems by Pantura Lecturers and Teachers. The form of data for this study is the passage of verses in the lines of poetry. This research uses a qualitative descriptive approach. The technique of providing data in this study is to use reading techniques, and note-taking techniques as an advanced technique. Data analysis in this study used the presentation of the results of data analysis using informal methods. . The results of this study show that there are 37 Javanese cultural values which include (1). the value of beliefs, (2). achievement value, (3). the value of patience, and (4). alignment value. The results of this study can be implied in Indonesian language learning in high school class X even semester in basic competencies (KD) 3.17. and basic competencies or (KD) 4.17.

This research is motivated by a cultural reality produced by the life of the Javanese people, especially the Janengan tradition. The Janengan tradition is a Javanese-Islamic traditional musical art by reading the Prophet's prayers in Javanese style. This tradition has grown and developed in North Pontianak. Unfortunately, the people in North Pontianak interpret this tradition as the art of traditional music without knowing the goals and values ​​conveyed directly or explicitly. This research is part of the relevance of the character of the Prophet Muhammad to the Janengan tradition in FAST theory (Fatanah, Amanah, Siddiq, Tablig). This research aims to explore the values ​​of Islamic education in the Janengan tradition, both in terms of implementation and reading texts of the Janengan tradition and their relevance to FAST theory. This research method uses qualitative research with the type of descriptive research. They were collecting data using observation, interview, and documentation techniques. The implementation of the Janengan tradition begins with the opening of the reading of Al-Fatihah, reading the Janengan poetry, and prayer. The five musical instruments used show the five mandatory prayers. The way of sitting in its implementation shows equality in the eyes of Allah SWT; the value of monotheism, the value of worship, and moral values ​​are collected in prayer activities. The poems that are read also have messages and values ​​, namely the value of monotheism, the value of worship, and the value of morals. The Janengan tradition contains the four obligatory nature of the prophets; intelligence-can be trusted-honesty-convey, FAST.

The study accentuates bilingual creativity as the pedagogical intervention of postcolonial creative writing strategy in poetry class through the writing of haiku and short poems. Twenty-five students in their freshmen year at the English Department were engaged in reading a culturally local text (Sumatra-Javanese ethnic poetry to compose poetry from a post-colonial perspective). The workshop's five phases exploring, inciting inspirations, drafting, editing, and peer feedback provided the student, as a novice writer, with the benefit of familiarizing themselves with character, theme, and cultural issues; developing a cognitive process to negotiate different meanings in their first and second languages; and exploring creativity to write their own poetry in the second language. The scripts written in English are the product of poetry classes, which reveal students' localized knowledge and cultural literacy. The works reflect the participants’ cultural identity, even though English is the dominant language showcased in the almost fifty poems composed by the novice writers. The existence of local languages points to the development of their bilingual creativity; students in the poetry classroom are not only able to handle the meaning in the first and second languages, but also to promote their local culture to the global world.

The most famous manāqib (hagiography) of Syaikh Abd al-Qadir al-Jailānī in Java, is an-Nūr al-Burhānī, written by Kyai Muslih al-Marāqī, a Javanese translation of al-Barzanji’s al-Lujain ad-Dānī. However, this book has its uniqueness and can be regarded as a new book because Kyai Muslih is not only a translator but also a commentator of the book. This article aims to describe the relationship between the book and other text. By intertextuality analysis, this paper finds that an-Nūr al-Burhānī is a revision of some translation books of al-Lujain ad-Dāni that have existed before, as well as constructed by quotations from 30 books, 24 verses of al-Qur'an, 50 ḥadiṣ and some poems. The relationship of intertextuality is indicated by excerpt, expansion, modification, and conversion. The excerpt is seen in Kyai Muslih’s sounding about controversial issues related to Sufism. The expansion is found when he speaks more extensively about the issues he discusses. The modification is shown by shortening a lengthy ḥadiṣ, a citation, and a title of a book. The conversion is seen when he criticizes another opinion he regards as not valid. Finally, an-Nūr al-Burhānī serves as hypotext for the subsequent works. At least, two books in the Indonesian language, namely Terjemah Manaqib Syaikh Abdul Qadir Jailani by Moh Saifulloh al-Aziz and Penuntun Manaqib Syeikh Abdul Qadir al-Jailani by Baidlowi Syamsuri are the translations of Javanese an-Nūr al-Burhānī and not a direct translation of Arabic al-Lujain ad-Dāni. These findings underline the importance of the translator's competence in order to produce good translation works, as is modeled by Kyai Muslih.

Penelitian ini difokuskan pada geguritan-geguritan di dalam buku antologi berjudul Alam Sawegung (2010) karya Sudi Yatmana. Geguritan-geguritan yang dipilih dari antologi tersebut berupa tiga geguritan berjudul Paman Tani Jawa Purwa (Paman Tani Jawa Kuna), Nandur Pari Jero (Menanam Padi Jero), dan Panen (Panen). Dari hasil kajian pustaka yang relevan dengan penelitian ini, ketiga geguritan itu sama sekali belum pernah dilakukan. Puisi-puisi itu diteliti karena memiliki kekuatan dan keunikan di dalam mengungkapkan masalah kejawaan yang berkaitan dengan budaya dunia pertanian (padi) di Jawa. Dalam realitas kehidupan masa kini, budaya tani tersebut mengalami tantangan berupa pergeseran orientasi akibat perkembangan zaman. Oleh karena itu, penelitian ini bertujuan mengungkapkan gambaran perubahan orientasi dunia petani Jawa di tengah arus perkembangan zaman melalui tiga geguritan tersebut. Teori yang digunakan adalah teori semitiok dari Riffaterre yang memandang puisi dari makna (signifiacane) dan arti (meaning) dan teori ekokritik ecocriticism yang memandang puisi sebagai representasi dari kesadaran terhadap lingkungan dan budaya. Penelitian sastra adalah riset pustaka. Oleh karena itu, metode penelitian yang digunakan dalam penelitian ini sejajar dengan teori yang dipilih untuk mengungkapkan makna dan arti ketiga geguritan tersebut sehingga diketahui bahwa geguritan-geguritan yang diteliti sebagai ruang mental/kebudayaan. Dengan langkah tersebut, dapat ditemukan jawabahan dari tujuan penelitian ini.This study focuses on geguritans in the anthology titled Alam Sawegung (2010), by Sudi Yatmana. Geguritans are selected from three anthologies titled "Paman Tani Jawa Purwa" (Old Javanese Uncle Farmer), "Nandur Pari Jero" (Planting Rice Jero), and "Panen" (Harvest). The result of relevant literature review to this study shows that a study of three geguritans has not done yet.The poems are studied because they have strength and uniqueness in revealing Javanese issues related to agriculture culture (rice) in Java. In today life reality, the peasant culture faces challenge of orientation shift due to era changing. Therefore, this research aims to reveal the picture of Javanese farmers orientation changing world in the midst of the times in the three geguritans. Riffaterre semiotics theory viewing poetry of significance and meaning is used in this research. Ecocriticism theory of literature viewing poetry as representation of envirionmental and cultural conciosness is also used in this study. The study of literature is a research library. The research method used is parallel to the chosen theory in order to express meaning and significance of the three geguritans. Therefore, it can be found out that geguritans as a mental space / culture. Through these steps, the answer of research aim can be fulfilled.

This study examines the contribution of Mahfuzh Al-Tarmasi, Javanese-born scholars, who live in Mecca in Hadith studies in Indonesia. This study employs a qualitative method with a historical approach to trace al-Tarmasi contribution in Hadith studies in Indonesia. After analyzing the primary and secondary sources, this study shows that Mahfuzh Al-Tarmasi is one of the prominent Islamic scholars of Indonesia in the nineteenth century who have contributed greatly and significantly to the study of hadith and the science of Hadith (‘ilm al-riwāyat) in Indonesia. The contribution of Mahfuzh Al-Tarmasi can be seen by the fact that he had so many students who learned Hadith and the science of Hadith from him, not only from Indonesia but also from abroad such as Malaysia, India and other countries. He also produced works in the field of Hadith and the science of Hadith. Besides that, he had explained the book Alfiyyah Al-Suyūṭī by the title Manhaj Dhawī al-Nazhar: Sharḥ Manzhūmah ‘Ilm al-Āthār, a work containing science of Hadith, written only in four months. In this book, he had encreased twenty stanza poems to the book of Alfiyyah Al-Suyūṭī.

The return of Creative Writing to the academia was intended as an answer to rigid approaches employed in the nineteenth century’s teaching of English Literature. This comeback has since brought back a new perspective in seeing body of literature as a living body but at the same time also introduced clash between dominating research paradigm in the academia. The writers who were hired to teach creative writing tended to prioritise their creative practice, while the general consensus in academia called for more theoretical-oriented research. In order to compromise, the practice-based research method was born. Despite various justifications that creative process is the same as research inquiry, the heavier emphasis on creative works in this method still invites criticism, such as the lack of research rigour (Biggs & Büchler, 2007). New framework to balance and bridge practice and research rigour is thus needed – especially one that can accommodate the non-linear thinking trajectories in creative practices. Due to the possible non-linearity, the new research platform should not follow the reigning ‘arborescent scheme’ in the academic research tradition, but incorporate the concept of Deleuzian rhizome. A/r/tography – developed based on the premise of art and art creation as a rhizomatic process / activity – is proposed as one of the potential practices for creative writing research. The non-linear view of a/r/tography towards arts practices suggests a rhizomatic role in the mapping of creative writing process. As it addresses and accommodates multiplicities, a/r/tography also facilitates non-native English speakers to conduct and map his journey in art creation and research inquiry. Author’s project of writing a collection of bilingual poems based on classical Javanese song cycle – Sekar Macapat – is presented to illustrate the claim.

Ladrang Slamet bagi masyarakat Jawa tradisonal rupa-rupanya telah dipandang sebagai gending doa keselamatan. Namun, menariknya di dalam Ladrang Slamet tidak dijumpai syair yang secara eksplisit merujuk pada hal-hal yang berkenaan dengan keselamatan. Bahkan syair yang digunakan adalah cakepan salisir, yang juga sering digunakan pada gending-gending yang lain. Merujuk pada permasalahan di atas, studi ini ingin menjawab pertanyaan tentang pemaknaan keselamatan dalam Ladrang Slamet yang diasumsikan terletak pada susunan nada-nadanya. Analisis struktural yang berpijak pada konsep Mancapat dengan pendekatan mitologi digunakan untuk menguraikan struktur balungan Ladrang Slamet laras slendro pathet manyura. Melalui analisis tersebut diperoleh kesimpulan bahwa struktur Ladrang Slamet merupakan manifestasi dari sistem relasi dewa-dewa, yakni Siwa-Kama-Brahma-Narada yang mana dalam hubungan relasinya menunjukkan kapasitas Siwa sebagai sumber kekuatan yang mengatur waktu dalam mencapai kesempurnaan.Balungan Ladrang Slamet of the Slendro Pathet Manyura Reviewed from the Mancapat Concept. Ladrang Slamet for traditional Javanese people seems to be as a genre of prayer for salvation. However, interestingly, in Ladrang Slamet there are no poems that explicitly refer to matters relating to salvation. Even the poetry used is cakepan salisir, which is also often used in other songs. The study wants to discuss the meaning of salvation in Ladrang Slamet, which is assumed found in the arrangement of the notes. The structural analysis which is based on the Mancapat concept with a mythological approach is used to describe the structure of balungan Ladrang Slamet, the harmony of slendro pathet manyura. Through this analysis, it was concluded that the structure of Ladrang Slamet is a manifestation of the system of relations of the gods, namely Shiva-Kama-Brahma-Narada which in the relationship shows Shiva’s capacity as a source of power that governs time in achieving perfection.Keywords: ladrang slamet; balungan; mancapat

The eling-eling siro menungso poem is a poem that has been created by Sunan Gresik or whose real name is Sheikh Maulana Malik Ibrahim, the poem is a form of cultural acculturation from Gresik culture in the form of literature. In these poems there are cultural values and also cultural elements, the purpose of this research to find out the values and also cultural elements of the poem, in this study a qualitative research method was used with a qualitative descriptive approach, data collection in this research used literature study. The results of this study are that there are cultural values, namely the value of the relationship between God and humans as well as the value of the relationship between humans and each other, after that there are cultural elements, namely linguistic elements in the poem using Arabic and Javanese, elements of art, namely hadrah art in Gresik with the musical instruments used coming from Malay and Javanese, namely tambourines and drums, and the last is an element of the religious system, where in the poem the religious system is Islamic Kejawen.Keywords: acculturation, cultural, Sunan Gresik. AbstrakSyair eling-eling siro menungso adalah syair yang telah diciptakan oleh sunan Gresik atau yang memiliki nama asli Syekh Maulana Malik Ibrahim, syair tersebut merupakan bentuk dari akulturasi budaya dari kebudayaan Gresik berupa kesusastraan. Dalam syair tersebut terdapat nilai-nilai kebudayaan dan juga unsur-unsur budaya, tujuan dari penelitian ini yaitu untuk mengetahui nilai dan juga unsur budaya dari syair tersebut, dalam penelitian ini digunakan metode penelitian kualitatif dengan pendekatakan deskriptif kualitatif, pengumpulan data dalam peneltian ini menggunaan studi pustaka. Hasil penelitian ini adalah terdapat nilai-nilaikebudayaan yaitu nilai hubungan tuhan dan manusia serta nilai hubungan manusia dan sesamanya, setelah itu terdapat unsur-unsur kebudayaan, yaitu unsur kebahasaan dalam syair tersebut menggunakan bahasa Arab dan bahasa Jawa, unsur kesenian yaitu kesenian hadrah yang ada di Gresik dengan alat musik yang dipakai berasal dari melayu dan Jawa yaitu rebana dan kendang, dan yang terakhir adalah unsur sistem religi, dimana dalam syair tersebut sistem religinya adalah islam kejawen.Kata Kunci: akulturasi, budaya, Sunan Gresik. Authors:Siti Nur Khotijah : Universitas Dr. Soetomo SurabayaHaerussaleh : Universitas Dr. Soetomo SurabayaNuril Huda : Universitas Dr. Soetomo Surabaya References:Achmad Nur Waqid. (2020). Metode Dakwah Sunan Kalijaga Melalui Akulturasi Budaya dan Relevansinya dengan Tujuan Pendidikan Islam (Skripsi- IAIN Ponorogo). September. http://etheses.iainponorogo.ac.id/id/eprint/12938.Aziz, D. K. (2015). Akulturasi islam dan budaya jawa. Fikrah, I(2), 253–286.Indrastuti, N. S. K. (2018). Representasi Unsur Budaya dalam Cerita Rakyat Indonesia: Kajian Terhadap Status Sosial dan Kebudayaan Masyarakat. Malaysian Journal of Social Sciences and Humanities (MJ - SSH), 3(3), 189–199. https://msocialsciences.com/index.php/mjssh/article/view/124/101.Maziyah, S., & Amaruli, R. J. (2020). Walisanga: Asal, Wilayah dan Budaya Dakwahnya di Jawa. Endogami: Jurnal Ilmiah Kajian Antropologi, 3(2), 232–239.Merdiyatna, Y. Y. (2019). Nilai-Nilai Budaya Dalam Cerita Rakyat Panjalu. BAHASTRA, 4(1), 143–148.Nurhayati, E., Junaedi, D., & Sahliah, S. (2020). Dakwah Islam Melalui Karya Sastra. Hanifiya: Jurnal Studi Agama-Agama, 2(2), 105–112. https://doi.org/10.15575/hanifiya.v2i2.7303.Rumpaka, R. A., & Ayundasari, L. (2021). Akulturasi budaya Tembang Lir-ilir sebagai media dakwah Sunan Kalijaga. Jurnal Integrasi Dan Harmoni Inovatif Ilmu-Ilmu Sosial, 1(4), 470–476. https://doi.org/10.17977/um063v1i4p470-476.Sadono, S., & Purnomo, A. D. (2020). A BUDAYA ISLAM DAN TIONGHOA DALAM ARSITEKTUR MASJID AL IMTIZAJ CIKAPUNDUNG BANDUNG. Gorga : Jurnal Seni Rupa, 09(November).Siswayanti, N., & Yunani, A. (2021). Akulturasi Budaya Dalam Dakwah Maulana Malik Ibrahim. JIPKIS: Jurnal Ilmiah Pendidikan Dan Keislaman, 1(3), 149–161. https://jipkis.stai-dq.org/index.php/home/article/view/16.Sukirman. (2021). Karya Sastra Media Pendidikan Karakter bagi Peserta Didik. Konsepsi, 10(1), 17–27. https://p3i.my.id/index.php/konsepsi/article/view/4.Sutardjo, I. (2013). Menggali Nilai Keutamaan Dalam Kesusastraan Jawa Karya Wali Sanga: Kajian Semiotik. Kajian Linguistik Dan Sastra, 25(2), 137–146. http://journals.ums.ac.id/index.php/KLS/article/view/4133%25.

<p><strong>Resumen</strong></p><p>La escritora mejicana Rosario Castellanos (1925-1974) ansiaba otro modo de ser mujer y libre en la sociedad en la que le tocó vivir, convirtiéndose este deseo en el <em>leitmotiv</em> de su obra. En cuanto al amor, se dice que Castellanos estaba convencida de que no podría vivir sin que su marido la amara tanto como ella a él, tal y como ella misma parece indicar en <em>Cartas a Ricardo</em> (1994). La autora concluye uno de sus poemas más conocidos, “Meditación en el umbral”, con versos que incitan a la búsqueda de otros modos de ser, siendo mi propósito el de redireccionar ese registro a otros modos de amar. Para ello recurriré a la teoría postestructural de Luce Irigaray, quien hace que nos cuestionemos, al igual que hiciera Castellanos, nuestra identidad, pero que, a diferencia de la escritora mejicana, huye de buscar una respuesta definitoria y, en lo referente al amor, profundiza en la búsqueda de una cultura que modifique la condición de las relaciones amorosas. Y es que otros modos de ser y de amar son posibles.</p><p> </p><p><strong>Abstract</strong></p><p>Mexican writer Rosario Castellanos knew that other ways of being a woman and a free subject were possible, and it was this very desire that became the <em>leitmotiv</em> of her work. Regarding love, it has been said that Castellanos was convinced that it was impossible for her to live without the love of her husband, as she seems to underline in <em>Cartas a Ricardo</em> (1994). She concludes one of her well-known poems, “Meditación en el umbral”, with lines that encourage us to claim new ways of being. It is my purpose to redirect this aim towards new ways of loving within a romantic relationship. To do so I will use Luce Irigaray’s poststructuralist theoretical framework on love. This critic makes us question, as Castellanos did, our identity, but differs from the Mexican writer in trying to find an answer and, regarding love, deeply encourages us to deconstruct a culture which should modify romantic relationship stereotypes, since other ways of being and loving are possible.</p><br /><div id="SLG_balloon_obj" style="display: block;"><div id="SLG_button" class="SLG_ImTranslatorLogo" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/imtranslator-s.png'); display: none; opacity: 1;"> </div><div id="SLG_shadow_translation_result2" style="display: none;"> </div><div id="SLG_shadow_translator" style="display: none;"><div id="SLG_planshet" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/bg2.png') #f4f5f5;"><div id="SLG_arrow_up" style="background: url('chrome-extension://mchdgimobfnilobnllpdnompfjkkfdmi/content/img/util/up.png');"> </div><div id="SLG_providers" style="visibility: 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The lack of research on literary elements in "babad" is in line with the limited study of Islamic elements within this genre. This research aims to analyze the Javanese poets' depictions of Islam in "Babad Tanah Jawi" and "Babad Giyanti." The study operates under the assumption that "babad" as literary works can allegorically create a contested space where Islam interacts with other traditions. A qualitative paradigm with a comparative structural approach is employed in this study, focusing on the narratives that shape the author's understanding of Islam in the 18th century. The findings of this research reveal that the court poet's portrayal of Islam in "Babad Tanah Jawi" shares similarities with another work in the same genre, "Babad Giyanti." These commonalities encompass the utilization of Islamic verses in the "bhabuka" text and "asmaul husna," the depiction of "walisongo's" role, the practice of "tawajjuh," moral Islamic teachings, and the political positioning characterized by ambivalence and negotiation among different traditions.

Ki Padmasusastra (1843-1926) yang sering menyebut dirinya dengan nama tiyang mardika ingkang marsudi kasusastran Jawi ing Surakarta adalah penulis dan pemerhati bahasa, sastra, dan budaya Jawa setelah era para pujangga Jawa. Ki Padmasusastra walaupun tertarik dan menerima norma-norma sastra dan budaya Eropa, akan tetapi ia tetap mengabdikan diri pada sastra dan budaya Jawa tradisional. Kehadiran empat karya sastranya memiliki warna dan keunikan tersendiri yang menempatkan Ki Padmasusastra sebagai salah satu pengarang Jawa yang terkenal. Pandangan-pandangan multikultural, pemikiran, kreativitas, maupun keteladanan semangat Ki Padmasusastra sebagai seorang pengarang telah berhasil membangun karakter bangsa melalui karya sastra.Kata kunci: Ki Padmasusastra, karya sastra, pandangan multikultural. AbstractKi Padmasusastra (1843-1926) is often called himself by the name tiyang mardika ingkang Marsudi kasusastran Jawi ing Surakarta is a writer and observer of language, literature, and culture of Java after the era of the poets of Java. Ki Padmasusastra although interested and accepted norms of European literature and culture, but he remains devoted to literature and traditional Javanese culture. The presence of four literary works have colors and unique that puts Ki Padmasusastra as one of the authors of the famous Java. The views multicultural, thinking, creativity, and the exemplary spirit of Ki Padmasusastra as an author has succeeded in building the character of the nation through literary works.Keywords: Ki Padmasusastra, literature, multicultural outlook.

This study aims to describe the intensity of the use of Javanese words and idioms inwayang poems. It employed the textual approach. The data sources were wayang poemsunder the subsection of “Lingga dan Yoni” in Tirta Kamandanu (1997), a poetry anthologyby Linus Suryadi. There were 26 poems all of which were studied. The steps includedlinguistic evidence collection, data display, and explanation of esthetic functions. Thestudy concludes that the use of Javanese words and idioms in wayang poems is intensiveenough. They are relevant to the meanings in the poems narrating wayang and supportand strengthen the meanings and existence of the Javanese culture. They also support thefunctions of poetry style beauty, especially the beauty of rhymes and particular atmospherecreation, are accurate in the condensed forms, and serve as fillers for emptiness or justsynonyms. Without knowledge and understanding of the Javanese culture, one will notunderstand the poems as well, thoroughly, and intensively as one who understands theJavanese cultural background.