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Wacana : Journal of the Humanities of Indonesia
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  This is an Open Access Journal Open Access journal
ISSN (Print) 1411-2272
Published by Universitas Indonesia Homepage  [20 journals]
  • The ideal match; Views on marriage in Panji Paniba (1816)

    • Authors: Willem van der Molen
      Pages: 177 - 190
      Abstract: Panji Paniba of 1816 is a Panji story. It is built on a plot which is characteristic of Panji stories: four Javanese kingdoms in a Hindu setting, a princess who disappears and a prince, her fiancé, who finds her again. Another characteristic of Panji tales is the happy ending of marriages and successions to thrones. Interestingly in Panji Paniba a foreign king has a role to play. Crucial to our understanding of this particular version of Panji stories is the special attention it pays to types of marriages. Three types can be distinguished: proper, improper but repairable, and objectionable. How these are defined and how they influence the development of the narrative is the topic discussed in the present article.
      PubDate: 2020-04-14
      DOI: 10.17510/wacana.v21i2.877
      Issue No: Vol. 21, No. 2 (2020)
  • Transformation of Candra Kirana as a beautiful princess into Panji
           Semirang; An invincible hero

    • Authors: Mu'jizah Mu'jizah, Achadiati Ikram
      Pages: 191 - 213
      Abstract: The Malay Panji romance comes in many versions, one of which is the Hikayat Panji Semirang whose principal character is Candra Kirana, Panji’s betrothed. The story describes Candra Kirana as a woman in the guise of a man doing a man’s job. It has produced a number of new creations in the form of popular stories, novels, films, and comics. This article aims to present a description of a womanpossessed of superlative qualities, once supposedly possessed only by men. The method used in the analysis is the gender approach. This research focuses on the text of Hikayat Panji Semirang Br. 126 in the collection of the National Library, Jakarta. The research shows a story which diverges from other versions, namely: the murder by black magic of the queen by the concubine, causing Candra Kirana to leave the palace and establish a kingdom of her own, Mataun. During her wanderings she becomes a gambuh player.
      PubDate: 2020-04-14
      DOI: 10.17510/wacana.v21i2.772
      Issue No: Vol. 21, No. 2 (2020)
  • Panji in the Age of Motion; An investigation of the development of
           Panji-related arts around Java

    • Authors: Adrian Perkasa
      Pages: 214 - 234
      Abstract: The first half of the twentieth century in Indonesia is often remembered as the Age of Motion. The term “motion” (pergerakan) is invariably used in history textbooks for students and in the official Indonesian historiography: Sejarah nasional Indonesia (Kartodirdjo, Poesponegoro, and Notosusanto 1975; Poesponegoro and Notosusanto 2008) and in the new edition, Indonesia dalam arus sejarah (Lapian and Abdullah 2012). Political movements in Indonesia always dominated the discourses of pergerakan at the expense of developments in other sectors, including culture. This cultural development, particularly in Java, was intricately intertwined with the upsurge in Javanese and then Indonesian nationalism, an expansion of modernity and Islamic revivalism. Topeng Panji with all of its forms around Java is symptomatic of this development. This paper is an initial investigation into the developments of topeng Panji across Java in the Age of Motion. By tracing the social and cultural histories from the perspective of the bureaucrats, artists, and government officials who wrote in books, journals, and other contemporary sources, this study aims to highlight topeng Panji and its development during that period.
      PubDate: 2020-04-14
      DOI: 10.17510/wacana.v21i2.887
      Issue No: Vol. 21, No. 2 (2020)
  • "Mangummangaaraa"; The search of Inao’s origin in Thailand

    • Authors: Titima Suthiwan
      Pages: 235 - 267
      Abstract: In 2017, as an acknowledgement of their extreme popularity in Southeast Asian countries, including Thailand, manuscripts of Panji tales were recommended for inclusion in the UNESCO Memory of the World Register. This paper will discuss the scope and extent of this popularity, its influence on both Thai classical culture and pop culture, plus a record of the search for its point of entry and manner of introduction into Thai culture. Even though such a search is not as seemingly impossible as Panji’s searches for his fiancée, namely: mangummangaaraa, there are still several gaps to fill in. In particular, this paper proposes that the existence of over a hundred Malay words left untranslated in all the Thai versions of the Panji tales is evidence of a certain degree of Thai-Malay bilingualism in Thailand in the eighteenth century. Changes in the canonical shapes in certain syllables and how these words were pronounced also provide clues to the fact that the tales came into Thai culture through Malay via southern Thailand, and not directly from Javanese, as several scholars believe.
      PubDate: 2020-04-14
      DOI: 10.17510/wacana.v21i2.888
      Issue No: Vol. 21, No. 2 (2020)
  • Reconstructing the history of Panji performances in Southeast Asia

    • Authors: Adrian Vickers
      Pages: 268 - 284
      Abstract: The circulation of Panji stories throughout Southeast Asia has been studied as a textual phenomenon. These same texts, however, provide evidence of how theatrical forms were important as a source for the dispersal of Panji stories. The textual evidence demonstrates that dance-dramas presenting Panji stories were performed in Majapahit times. These dance-dramas, known as raket are continued in the gambuh of Bali as well as in Javanese topeng. They were also widely known in the Malay world, and were connected to Thai and Cambodian theatrical forms.
      PubDate: 2020-04-14
      DOI: 10.17510/wacana.v21i2.897
      Issue No: Vol. 21, No. 2 (2020)
  • The "Sair Kin Tambuan"; A Banjarese Versified Version of a
           Well-known Panji Story

    • Authors: Edwin P. Wieringa, Titik Pudjiastuti
      Pages: 285 - 302
      Abstract: The Syair Ken Tambuhan (“Poem of Lady Tambuhan”) is a traditional Malay Panji tale in verse which is known in three redactions (short, middle, and long), all seeming to have a Sumatran origin, although an alternative hypothesis suggests that it might have originated from Borneo, in the Banjarmasin area. This article describes the hitherto unstudied Banjarese manuscript Sair Kin Tambuan from Kalimantan which represents the long redaction, running parallel to Klinkert’s 1886 edition which is based on a Riau manuscript. Probably copied in the twentieth century, since the mid-1980s it has been kept under call number N 4228 in the Museum Lambung Mangkurat in the town of Banjarbaru, South Kalimantan, Indonesia. Discussing a few variant readings, based upon comparisons with the text editions by Klinkert (1886) and Teeuw (1966), it is made clear that variae lectiones causing “philological alarm” are never “without value”, because problematic passages necessitate a close reading allowing analysts to delve deeper into the text.
      PubDate: 2020-04-14
      DOI: 10.17510/wacana.v21i2.873
      Issue No: Vol. 21, No. 2 (2020)
  • The rhetoric of paintings; the Balinese "Malat" and the prospect of a
           history of Balinese ideas, imaginings and emotions

    • Authors: Peter Worsley
      Pages: 303 - 325
      Abstract: Balinese paintings from the nineteenth and early twentieth centuries shed light on how painters and their works speak to their viewers both about how Balinese in this period knew, imagined, thought, and felt about the world in which they lived, and about the visual representation and communication of these ideas, imaginings, and feelings through the medium of narrative paintings. In this paper I discuss five Balinese paintings of the Malat. The first two illustrate the episode in which Raden Misa Prabangsa stabs Raden Ino Nusapati’s horse. The third and fourth paintings illustrate Prabu Melayu’s rescue of his sister Princess Rangkesari of Daha from the court of the King of Lasem, and the fifth, the reuniting of Princess Rangkesari with her parents, the King and Queen of Daha. However, before I consider the paintings, I discuss briefly a number of historiographical issues concerning the reception of ideas, imaginings, andfeelings conveyed in these five narrative paintings of the Malat and which need to be kept in mind when assessing interpretations of them.
      PubDate: 2020-04-14
      DOI: 10.17510/wacana.v21i2.870
      Issue No: Vol. 21, No. 2 (2020)
  • Lydia Kieven, "Menelusuri Panji & Sekartaji; Tradisi Panji dan proses
           transformasinya pada zaman kini"

    • Authors: Abdullah Maulani
      Pages: 326 - 328
      PubDate: 2020-04-14
      DOI: 10.17510/wacana.v21i2.794
      Issue No: Vol. 21, No. 2 (2020)
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