Sundanese Culture International Conference
The International Conference on Sundanese CultureGedung Merdeka, Bandung - Indonesia22-August 25, 2001
http://tradisidongeng.blogspot.com/
KELISANAN TRADITION IN CHILDREN
TRADITION marginalized
By: Taufik Ampera
I. Introduction
When we realize that children are part of our lives, and regard them as the heirs of the culture, then we must understand the importance of the cultural inheritance for the children as the future generations who have duties as conservationists and keepers of tradition.
Along with the times and becoming a kind of rampant competition animated text (cartoon), which is now up as a strong force, a major regime shift and resilient tradition has been rooted in the joints Sundanese society. Sakralisasi fading tradition and romanticism kelisanan in children has made various parties concerned. Parents accused as the party is not responsible for the maintenance of culture, because it was too busy with their own affairs. School accused as an institution can not preserve the culture, do not make time for the ritual activity in the maintenance of tradition. The rise of comics and science fiction, with tricks that do not make sense also been accused of robbing kelisanan traditional charm in children. Television is showing a variety of media entertainment is the most bear blasphemy and insults, because it considered had distracted the children from the tradition. As a result, children no longer know the tradition that once familiar and become a mainstay for the previous generation.
If the accusations, allegations and continues kebenarannnya proved, with no attempt to pelestraian tradition, then the children will lose a valuable heritage and will do so even more cut off from the chain of tradition. It's very unfortunate because the kids will never pick the values that have been valuable as obtained by the parents, who did not get passed back to the children.
II. Kelisanan tradition in Children
In life, the children were familiar with the tradition compose literature, in their lives is a typical literary, namely children's literature. In a simple children's literature is often defined as a literary genre that was created for the consumption of children. Therefore, children's literature is often referred to as a child or reading a story that children appear in written form.
Many things make children's literature as a typical text, which has different characteristics with literature (reading) for adults. Audience of children's literature is a special creature, they should not be regarded as inferior audience, because they have their own intelligence.
Sundanese society as a society that has a rich culture, many keep their cultural heritage, including the art of storytelling to children. Storytelling is one of the oral tradition of the past is a form of entertainment is very popular and loved by children. At the time that the tradition was still alive and rooted in the community supporters, the children listen to fairy tales are concerned pitutur solid. In the tradition of the community kelisanan, tales delivered orally by a storyteller to another. Tale is a traditional literary genre. In traditional literature, fairy tales must have characteristics or traits that distinguish kelisanan with other forms. Characteristic of such tales is the story told verbally that is not true, especially about ancient events and strange.
III. Shift Tradition
Before the printing press developed rapidly as now, the children are in a strong tradition kelisanan. Many stories or listens to an oral tale, the storyteller or the parents. Even back then when kelisanan living tradition in supporting community storyteller is known by many or solace. However, at this time we will have trouble, when we look for storytellers who actually have the ability to tell a good story and has a lot of vocabulary as well.
Decreasing the number of storytellers described by Yus Rusyana (1981: 48). Because there is a change in the needs and opportunities as a result of telling the story changes in the Sunda people, then the reduced number of speakers and skills tell a story. Speakers are very quickly reduced and therefore could be saved if not extinct is the kind of speakers are skilled interpreters rhyme. This was evident at the time of recording the project held rhyme story, very difficult to obtain an interpreter rhymes, as suggested by Ajip Rosidi.
Yus Rusyana further explained that the reduced number of speakers and skill really going well with no narrator storyteller, one who knows the story and can tell it to others. In the year 1975 - 1976 I collected stories from several villages in the district of Bandung. Proved difficult to find someone who can talk well. The speakers that I met 45 -78 years old, mostly aged over 60 years. They were by people regarded as a parent who knows his home state in the past. The speakers were many who said that he had forgotten some of the stories according to his confession before he'd ever heard. The speakers generally accepted story at the age of five years until a dozen years (1981: 48).
Tradition shift has occurred gradually, which is an oral tradition has shifted toward writing tradition. Opportunity to tell any part shifted too. Parents as an amateur storyteller, the closest and has a strong inner relationship with his children, lost its central and strategic role in maintaining the tradition kelisanan. During the kelisanan tradition is still strong, parents gladly tell stories to their children. Tale is exciting entertainment for children at bedtime. But for the moment not a little old man who was troubled when his son asked for storytelling. Busy parents have shifted the role and duties as a guardian of culture in other media.
Fewer good storytellers and storytelling habit of passing the old people do to their children caused the loss figure of the storyteller in front of children. This also resulted in the erosion of social functions as contained in kelisanan tradition. In the oral tradition, the storyteller's audience will be interwoven with oral communication, both with each other and with the audience present storyteller in front of him. Unlike the tradition of writing, when the children read the book would not have happened verbal communication. Parents who once served as an amateur storyteller for the children, now a marginal man, because in kelisanan tradition, that there is a sense of togetherness. Pain is no longer created in the tradition of writing (Sugihastuti, 1996: 7).
In addition to the erosion of social functions, there are other things that disappear with a shift in that tradition, namely the loss of certain stilized no written tradition. In the oral tradition, the story is very strong with patterns formulaik, the schematic, and mnemonic patterned. Patterns will not be found in the written tradition. Similarly, the special characteristics of an oral form of highly stylized form thick in the oral tradition, not to be found also in the tradition of writing. Groups such words, in hiji kocapkeun nagara (tersebutlah in a kingdom) or old-fashioned era kacaturkeun (tersebutlah ancient times), which are words that marked the feature story didongengkan, would not also found in the stories born in the present .
Oral tradition gave birth Tergesernya new habits in children. The new habits will bring a good effect, when the children reading the story books, but in fact the tradition of reading in children has not spread strong. So far, we still often hear, the interest of students read very little literature partly due to educational factors that have not been widespread and equitable as well as lack of purchasing power of the story books. As a result the children will lose the "world" of the world mentradisi compose literature. Responding to this reality Sugihastuti say that tradition has kelisanan away from them, but the tradition of writing yet affordable. Happens, they are on the verge of both (1996: 7). In the end the children will be trapped in another culture is a culture spectacle that is increasingly promising a variety of entertainment and more delicious witnessed.
In the cultural spectacle of the narrator's role is very much shifted even disappear altogether. Television has replaced the duties and role as an entertainer who is very familiar and readily accepted by children. Cartoons and movies have captured the attention of the robot children. The children could linger in front of the TV screen to watch his hero characters, such as Doraemon with various magical instruments, Dragon Ball with the conflicts triggered by the seizure of powerful tools, Power Rangers with knights tough, and Crayon Shinchan with mischief and foolishness beyond his age, which often cause trouble to people around him including family, teachers, and friends. These films are western movies very dynamic, which presents many interesting imagination and the all-powerful device. With these treats children feel happy and satisfied, so feel no need to the tradition of storytelling, so it is with parents, do not bother anymore lull recalled when her child. The tales do not need anymore Kancil didongengkan, parents live play VCDs Adventures The Kancil, the children will be happy to see it.
Associated with the presence of television in the middle of the children as the entertainment media, the following will be presented Hidayati Arini research on some of the most favored child. Based on the type of event, the children preferred the cartoon type movies. This tendency is proportional to the motivation that most children use television as media entertainment, and they got it on television.
One more difficult to ignore, is the tendency of children who are crazy about the show's stories for adults which was shown on TV that worked with the views, such as the Mystery of Mount Merapi with his Lampir Mak and Resentment, Nyi Pelet with the appearance of characters beautiful and sexy.
The presence of television for children but can serve as a means of entertainment, as well as a loyal friend when a child feels lonely, or when the child does not have activities. In this regard, research Grennberg (via Hidayati, 1998: 76) revealed a motive for why the eight children watch television, that is, to fill the time, forget the trouble, learn something, learn self-stimulating, relaxing, looking for friendship and mere habit. So, not forever, but more likely in order to "search for something fun.
Motive on why children are watching television, may form the basis, determine that the child has one of the most favored choice. And children are happy with this choice. This is what makes the popular television in the eyes of the children, even to this day, the child has not discovered something that is considered quite satisfactory in addition to the television. From television, children can find many things like music, drama, films, quizzes, news, and other events (Hidayati, 1998: 76).
Hidayati further explained that the popularity of television because of its simplicity in conveying the message, so your child can easily take advantage of and receive the message. Was supported by the ease of its audio-visual (look-listen), so that the information or data submitted to be very easily accepted and digested by the audience, even by small children though. More television attention than the various forms of child's other game. In addition to these factors, the medium of television viewers do not limit the level of education or a certain age (1998: 76-77).
Television popularity level for each child will be different. This means that the television appeal will not be the same in setriap children, and usually appropriate age levels. From the results of research, Hurlock (via Hidayati, 1998: 77) to conclude that the child pre-school age is more like a dramatization that involves animals and people who are known, music, cartoons and simple comedy. A freshman and two are like puppet shows, films koboy, mystery, humor, family life and atmosphere of the quiz show with prizes. Grade three and four are like the imaginative events such as the rocket and spacecraft, show, mystery, detective, drama and music. The boys fifth and sixth grade were more likely to show the nature of science and cubits works, including the likes of imaginative events and films.
The presence of television in the middle of children's lives will take effect. Of course, we interpret the effect depends, if the influence is taken as a positive thing, could be. In the end, all was back to the child, the environment and the role of parents. In addition, each of the media, like television, radio, and the book has strengths and weaknesses. In addressing these issues, which we must be wise important, it means we must take the attitude that the media is beneficial for child development. If there is weakness, then we should be able to overcome the weaknesses and try to find the solution of existing problems.
IV. Benefits that can be taken from the tradition of the marginalized
Kelisanan tradition that began abandoned by society supporters, if left in position as a marginalized tradition, will be extinct gradually swallowed up the flow of the times that are increasingly rapidly. It is unfortunate if future generations will not receive the valuable cultural heritage that. If we act wisely and carefully back the tradition, then we will come back to find he radiated charm, the values and benefits contained in it are still in accordance with the present life.
Many aspects that can be raised, through the study diantranya story. The story of life in kelisanan traditions can contribute to the development of the child's emotional intelligence.
The term emotional intelligence was originally put forward by two psychologists, namely Peter Salovy (Harvard University) and John Mayer (from New Hampshire University), and popularized by Daniel Goleman in his book Emotional intelligence: Why It Can Matter more than IQ (1995), which later became best sellers, including in Indonesia in the 1997 edition of the translation, Emotional Intelligence: Why EI More Important than IQ. The term used to describe a number of skills related to accurate assessments of the emotional self and others and the ability to manage feelings to motivate, plan, and achieve life goals. Furthermore, these skills translate into the ability to (1) self-identify emotions; (2) managing emotions and express themselves properly; (3) to motivate yourself; (4) identify another person; (5) and build relationships with people Other (Salovey and Mayer via Pertiwi, 1997).
Children who have high emotional intelligence akam have the ability to overcome various problems and tangtangan that arise during the process of development of adult human munuju. They are not an easy man desperate and give up, because the social skills and emotional intelligence, they can manage and express emotions properly and appropriately, can you overcome the challenges it faces, so that they can be called as a child who has emotional intelligence. Emotional intelligence in the child's life plays a very important role, because, as once pointed out by Goleman (1977), intelligence has a role only 20% of success and happiness in life of a child, while 80% other factors determined by fate and their emotional intelligence.
Emotional intelligence, according to the Earth, et al (1997), is not something that has a child by nature or innate, but it is something that can be learned and developed. Is the task of parents and pendididik (the teachers who teach students at every level of education) to teach and develop children's emotional intelligence through various efforts, including through the tradition of storytelling. Fairy tales can be used as a means of developing emotional intelligence for children.
Relation to the benefits of children's literature for the development of children's emotions, Bunanta (1998: 52) says that the literature, such as folk tales, teach children that people have different feelings and emotions, like love, hate, anger, sadness and joy, birth and death . In addition, through the work of a literary fantasy world of children perceive and understand the fear, frustration, struggle against injustice and evil, and became penenangnya.
Benefits of children's stories, especially fairy tales for the development of psychological (emotional) children, never investigated by Bruno Bettelheim, a child psychiatrist. Opinion based on his experience caring for troubled children. Bettelheim states that the characters in a fairy tale characters are isolated, outcast, and exiled. There are similarities between the children with problems with the characters in fairy tales. Troubled children requires leaders who, despite the image of a time in isolation and outcast, but capable of achieving victory and be rewarded for the benefit of his life. Next Bettelheim noted that tale has to give you confidence and able to children, also provides a view of life associated with morality (Bunanta, 1998: 53).
When we talk about the benefits of fairy tales in child develop emotional intelligence, then the first to realize the existence of a variety of areas digambarakan life in a fairy tale, ranging from things that are good until things worse. Therefore, we need to consider the myth (work) that need to be given to children, the more content in terms of giving a positive role model for children. Because, if not all fairy tales scrutiny, even a fairly popular tales, shows examples of human behavior is commendable. As a result, errors election stories, would be fatal. Moreover, as is often believed to be some people that the story often has a persuasive power (influence) is very smooth. In this case Langfeldt (via Bunanta, 1998: 54) says that to develop the nature of love and courage in children have chosen a story that has educational and moral values. Version of the story as Sangkuriang Gerdi W. K. seems not suitable for children in the context of emotional development, because it has a negative value that can teach a child to act harshly against her. This is shown through dialogue between Sangkuriang with Dayang Sumbi, his mother, following.
"I do not believe all of what you're saying. Even if you're really my mother,
I do not care! Really do not care! I'm still going to marry you "
"Sangkuriang, tidaak!"
"You can scream energy, who wants to hear?"
"Sangkuriang not! You have to throw that thought. Sin big, boy!"
"What is sin?" I'm not afraid! "
"My son, Sangkuriang, get a grip girl!"
"Aware? No I'm better mad! In the madness I'm more free! Nothing can mengaturku! Not even you! Look, however, and whatever has happened, you still will kuperistri!"
"Oh, no!"
Dayang Sumbi tried to run.
"No Sangkuriang, no!"
"Ha ha ha, do not run Dayang Sumbi!"
"It's me kakangmu! Ha ha ha ha ha ha ... ..."
"No! I'm your mother!"
"Ha ha ha, forget it! Now I kakangmu!"
Dayang Sumbi Sangkuriang pounce. But miracles happen, Dayang Sumbi disappeared from sight. He transformed into a flower (pp. 123-126).
The quotation above illustrates that Sangkuriang Sumbi intend to marry Dayang, who is actually his own mother. Thus, it is understood that Sangkuriang intends to commit incest with his own mother. Dayang Sumbi Sangkuriang resist, his son, but Sangkuriang still impose its will, even Sangkuriang intending to "pounce" Dayang Sumbi. But the miracle had happened, Dayang Sumbi turned into a flower, Sangkuriang intentions can not be realized. The scene depicting Sangkuriang desire to marry her mother, who described the "vicious", needs to be reviewed if the feasibility and delivery would be material to the consumption stories of children, because the scene is more negative values, although of course there are other literary depictions reversed that.
Thus, when we will provide stories to the children in an effort to develop a child's emotional intelligence, then we need to do some considerations. First, select the appropriate work with the world of children, both in terms of its characters or content. With these characteristics the child's work more easily identify themselves with the characters they had encountered from the work that they read (heard). Second, select the works that illustrate the lives that touch areas of emotional intelligence as the ability to recognize, manage, and appropriately express emotions, motivating ourselves, recognizing emotions in others and foster good relationships with others (Wiyatmi, 1999: 4-5).
Summary The following story, taken from Sundanese Literature pangajaran 'Teaching of Literature Sundanese', prepared by Budi Rahayu Tamsyah, et al. (1996: 154-156), is an interesting example.
There was a Tersebutlah students, has spent years studying at pesatren, but there is no progress in knowledge. The books that taught dihapalnya none. And he is diligent students and obedient in following the lessons given Ajengan. Because there was no progress, then he intended to return to his village. After getting permission from Ajengan, then departed.
Along the way, when he was seen resting against a rock dripping water. As he watched the stone, he thinks "trickle of water constantly hit the stone will leave a mark, of course, that had been decades. Just because the dripping water, hard rock such as that could change."
He pondered and thought he saw natural events. In his heart he said; "
This event deserves to serve as an example; if any one wants to work diligently to realize the meaning and patience. Therefore, although it should bear the shame, I'd better go back to boarding school. Hopefully what had aspired to. "(Adapted from the story Ninggang Cikaracak Stone, gradually, gradually So Legok).
From the story, children can learn how the characters change. People who once students get discouraged because they feel there is no progress although it has long studied in pesatren, so he determined to return to kampunya, but after seeing the natural scene as he rested on the way, he was aware that if you want to succeed, it must be diligent and patient. The story can give an example to children to become people who can motivate themselves without having to wait for help from others. In addition the importance of teaching children how to manage emotions and reflect the natural events around us that seem trivial but very important. Here the children are also faced with the question of how those who do wrong because it carried no emotion embarrassed to admit his shortcomings, even trying to study harder.
V. Conservation tradition Present Oriented
By considering the benefits that can be learned from the marginalized cultural heritage, it will reinforce the notion that more is not always a classic with features nuanced 'kemasalaluannya' excluded from life. Even if we dig it back with a wise and fair, will find the values of the past that are still in accordance with the current life.
Conservation kelisanan tradition in children absolutely do, because many positive aspects that can be taken in the effort to empower children. Interwoven communication between children and parents who eroded due to various interests, can be glued back through the tradition of storytelling. Our children deserve didongengi. They need a fairy tale because it requires enriching experience Untk inner emotions. At the time listening to stories, children's emotions have always been influenced by the movement of the themes and issues in a fairy tale. When children get the stories funny humor backed by the storyteller, then the child will feel happy. Conversely, when the children get stories sad and scary, kids will show the feelings of fear and anxiety heart condition.
Through the storytelling tradition, social contacts will terbina also because the tradition of storytelling to promote the importance of social development of children. Interaction between storyteller and listeners will shape the socialization process so that children will be able to be a community. To be able to open the storytelling tradition of interaction patterns, so when a speaker told the story once, children are invited to discuss the story he had heard. Encourage the child to live the story that was submitted to the dialogue. If the child is expected to be back telling his story, accompanied by commentary. Then hold a discussion about the benefits that can be learned from the story. This is where the role of parents and teachers are expected to guide the child in preserving the tradition of storytelling.
Tradition of storytelling in the school needs to revive. For that portion of the teaching of literature in schools needs to be supplemented and specifically placed in separate containers. Not like the current, as Boen S. Oemarjati, that literature is taught as a sideline in the Indonesian language teaching, literature in language teaching diomprengkan (People's Sovereignty, June 17, 2001: 7).
If fairy tales as cultural heritage will become a mainstay in the preservation of tradition kelisanan in children, there must be a 'modification' of fairy tales such as the structure, pembahasaan, and pengkarakteran. This was necessary because the target audience has changed. Dekontruksi of fairy tales have to be done in order not more abandoned children, but can compete with the rush of text and pop television media presence.
If the films shown have color television in all 'the tools of life' children, such as t-shirts, books, shoes, such as Teletubbies that is currently the idol of children and enticing a label for the entrepreneur, why not appointed figures tales with cultural background and the setting where the artistic ornament on consumer goods that interests children.
Surely it would be better if the creator, trying mengegelar many of his works that are rooted in tradition kelisanan through the medium of television, as has been done by Garin Nugroho. Through Children Thousand Island, Garin impressions pioneering multicultural message. In Pustaka Anak Nusantara, Garin tried to broaden this understanding with an emphasis on aspects of character that became part of civil education. These measures should be followed by other creators in the lifting of the nearly extinct tradition.
VI. CLOSING
Can not be denied that progress will impact on the tradition that has roots in the community. Shift or even destruction of a tradition is a natural process. Continuity of a tradition does not stand alone. Many factors also influence and contribute towards sustainability which can be formed.
Alienated from the contemporary tradition of touching many areas including kelisanan tradition in children is jailed business tradition itself. In contiguity culture, tradition and contemporary concepts are not two dichotomous values, both are part of a whole world, which is not divided into boxing.
Before we lose the richness that we have, then we better be wise, because life does not recede into the background and not too tied up in the past.
The International Conference on Sundanese CultureGedung Merdeka, Bandung - Indonesia22-August 25, 2001
http://tradisidongeng.blogspot.com/
KELISANAN TRADITION IN CHILDREN
TRADITION marginalized
By: Taufik Ampera
I. Introduction
When we realize that children are part of our lives, and regard them as the heirs of the culture, then we must understand the importance of the cultural inheritance for the children as the future generations who have duties as conservationists and keepers of tradition.
Along with the times and becoming a kind of rampant competition animated text (cartoon), which is now up as a strong force, a major regime shift and resilient tradition has been rooted in the joints Sundanese society. Sakralisasi fading tradition and romanticism kelisanan in children has made various parties concerned. Parents accused as the party is not responsible for the maintenance of culture, because it was too busy with their own affairs. School accused as an institution can not preserve the culture, do not make time for the ritual activity in the maintenance of tradition. The rise of comics and science fiction, with tricks that do not make sense also been accused of robbing kelisanan traditional charm in children. Television is showing a variety of media entertainment is the most bear blasphemy and insults, because it considered had distracted the children from the tradition. As a result, children no longer know the tradition that once familiar and become a mainstay for the previous generation.
If the accusations, allegations and continues kebenarannnya proved, with no attempt to pelestraian tradition, then the children will lose a valuable heritage and will do so even more cut off from the chain of tradition. It's very unfortunate because the kids will never pick the values that have been valuable as obtained by the parents, who did not get passed back to the children.
II. Kelisanan tradition in Children
In life, the children were familiar with the tradition compose literature, in their lives is a typical literary, namely children's literature. In a simple children's literature is often defined as a literary genre that was created for the consumption of children. Therefore, children's literature is often referred to as a child or reading a story that children appear in written form.
Many things make children's literature as a typical text, which has different characteristics with literature (reading) for adults. Audience of children's literature is a special creature, they should not be regarded as inferior audience, because they have their own intelligence.
Sundanese society as a society that has a rich culture, many keep their cultural heritage, including the art of storytelling to children. Storytelling is one of the oral tradition of the past is a form of entertainment is very popular and loved by children. At the time that the tradition was still alive and rooted in the community supporters, the children listen to fairy tales are concerned pitutur solid. In the tradition of the community kelisanan, tales delivered orally by a storyteller to another. Tale is a traditional literary genre. In traditional literature, fairy tales must have characteristics or traits that distinguish kelisanan with other forms. Characteristic of such tales is the story told verbally that is not true, especially about ancient events and strange.
III. Shift Tradition
Before the printing press developed rapidly as now, the children are in a strong tradition kelisanan. Many stories or listens to an oral tale, the storyteller or the parents. Even back then when kelisanan living tradition in supporting community storyteller is known by many or solace. However, at this time we will have trouble, when we look for storytellers who actually have the ability to tell a good story and has a lot of vocabulary as well.
Decreasing the number of storytellers described by Yus Rusyana (1981: 48). Because there is a change in the needs and opportunities as a result of telling the story changes in the Sunda people, then the reduced number of speakers and skills tell a story. Speakers are very quickly reduced and therefore could be saved if not extinct is the kind of speakers are skilled interpreters rhyme. This was evident at the time of recording the project held rhyme story, very difficult to obtain an interpreter rhymes, as suggested by Ajip Rosidi.
Yus Rusyana further explained that the reduced number of speakers and skill really going well with no narrator storyteller, one who knows the story and can tell it to others. In the year 1975 - 1976 I collected stories from several villages in the district of Bandung. Proved difficult to find someone who can talk well. The speakers that I met 45 -78 years old, mostly aged over 60 years. They were by people regarded as a parent who knows his home state in the past. The speakers were many who said that he had forgotten some of the stories according to his confession before he'd ever heard. The speakers generally accepted story at the age of five years until a dozen years (1981: 48).
Tradition shift has occurred gradually, which is an oral tradition has shifted toward writing tradition. Opportunity to tell any part shifted too. Parents as an amateur storyteller, the closest and has a strong inner relationship with his children, lost its central and strategic role in maintaining the tradition kelisanan. During the kelisanan tradition is still strong, parents gladly tell stories to their children. Tale is exciting entertainment for children at bedtime. But for the moment not a little old man who was troubled when his son asked for storytelling. Busy parents have shifted the role and duties as a guardian of culture in other media.
Fewer good storytellers and storytelling habit of passing the old people do to their children caused the loss figure of the storyteller in front of children. This also resulted in the erosion of social functions as contained in kelisanan tradition. In the oral tradition, the storyteller's audience will be interwoven with oral communication, both with each other and with the audience present storyteller in front of him. Unlike the tradition of writing, when the children read the book would not have happened verbal communication. Parents who once served as an amateur storyteller for the children, now a marginal man, because in kelisanan tradition, that there is a sense of togetherness. Pain is no longer created in the tradition of writing (Sugihastuti, 1996: 7).
In addition to the erosion of social functions, there are other things that disappear with a shift in that tradition, namely the loss of certain stilized no written tradition. In the oral tradition, the story is very strong with patterns formulaik, the schematic, and mnemonic patterned. Patterns will not be found in the written tradition. Similarly, the special characteristics of an oral form of highly stylized form thick in the oral tradition, not to be found also in the tradition of writing. Groups such words, in hiji kocapkeun nagara (tersebutlah in a kingdom) or old-fashioned era kacaturkeun (tersebutlah ancient times), which are words that marked the feature story didongengkan, would not also found in the stories born in the present .
Oral tradition gave birth Tergesernya new habits in children. The new habits will bring a good effect, when the children reading the story books, but in fact the tradition of reading in children has not spread strong. So far, we still often hear, the interest of students read very little literature partly due to educational factors that have not been widespread and equitable as well as lack of purchasing power of the story books. As a result the children will lose the "world" of the world mentradisi compose literature. Responding to this reality Sugihastuti say that tradition has kelisanan away from them, but the tradition of writing yet affordable. Happens, they are on the verge of both (1996: 7). In the end the children will be trapped in another culture is a culture spectacle that is increasingly promising a variety of entertainment and more delicious witnessed.
In the cultural spectacle of the narrator's role is very much shifted even disappear altogether. Television has replaced the duties and role as an entertainer who is very familiar and readily accepted by children. Cartoons and movies have captured the attention of the robot children. The children could linger in front of the TV screen to watch his hero characters, such as Doraemon with various magical instruments, Dragon Ball with the conflicts triggered by the seizure of powerful tools, Power Rangers with knights tough, and Crayon Shinchan with mischief and foolishness beyond his age, which often cause trouble to people around him including family, teachers, and friends. These films are western movies very dynamic, which presents many interesting imagination and the all-powerful device. With these treats children feel happy and satisfied, so feel no need to the tradition of storytelling, so it is with parents, do not bother anymore lull recalled when her child. The tales do not need anymore Kancil didongengkan, parents live play VCDs Adventures The Kancil, the children will be happy to see it.
Associated with the presence of television in the middle of the children as the entertainment media, the following will be presented Hidayati Arini research on some of the most favored child. Based on the type of event, the children preferred the cartoon type movies. This tendency is proportional to the motivation that most children use television as media entertainment, and they got it on television.
One more difficult to ignore, is the tendency of children who are crazy about the show's stories for adults which was shown on TV that worked with the views, such as the Mystery of Mount Merapi with his Lampir Mak and Resentment, Nyi Pelet with the appearance of characters beautiful and sexy.
The presence of television for children but can serve as a means of entertainment, as well as a loyal friend when a child feels lonely, or when the child does not have activities. In this regard, research Grennberg (via Hidayati, 1998: 76) revealed a motive for why the eight children watch television, that is, to fill the time, forget the trouble, learn something, learn self-stimulating, relaxing, looking for friendship and mere habit. So, not forever, but more likely in order to "search for something fun.
Motive on why children are watching television, may form the basis, determine that the child has one of the most favored choice. And children are happy with this choice. This is what makes the popular television in the eyes of the children, even to this day, the child has not discovered something that is considered quite satisfactory in addition to the television. From television, children can find many things like music, drama, films, quizzes, news, and other events (Hidayati, 1998: 76).
Hidayati further explained that the popularity of television because of its simplicity in conveying the message, so your child can easily take advantage of and receive the message. Was supported by the ease of its audio-visual (look-listen), so that the information or data submitted to be very easily accepted and digested by the audience, even by small children though. More television attention than the various forms of child's other game. In addition to these factors, the medium of television viewers do not limit the level of education or a certain age (1998: 76-77).
Television popularity level for each child will be different. This means that the television appeal will not be the same in setriap children, and usually appropriate age levels. From the results of research, Hurlock (via Hidayati, 1998: 77) to conclude that the child pre-school age is more like a dramatization that involves animals and people who are known, music, cartoons and simple comedy. A freshman and two are like puppet shows, films koboy, mystery, humor, family life and atmosphere of the quiz show with prizes. Grade three and four are like the imaginative events such as the rocket and spacecraft, show, mystery, detective, drama and music. The boys fifth and sixth grade were more likely to show the nature of science and cubits works, including the likes of imaginative events and films.
The presence of television in the middle of children's lives will take effect. Of course, we interpret the effect depends, if the influence is taken as a positive thing, could be. In the end, all was back to the child, the environment and the role of parents. In addition, each of the media, like television, radio, and the book has strengths and weaknesses. In addressing these issues, which we must be wise important, it means we must take the attitude that the media is beneficial for child development. If there is weakness, then we should be able to overcome the weaknesses and try to find the solution of existing problems.
IV. Benefits that can be taken from the tradition of the marginalized
Kelisanan tradition that began abandoned by society supporters, if left in position as a marginalized tradition, will be extinct gradually swallowed up the flow of the times that are increasingly rapidly. It is unfortunate if future generations will not receive the valuable cultural heritage that. If we act wisely and carefully back the tradition, then we will come back to find he radiated charm, the values and benefits contained in it are still in accordance with the present life.
Many aspects that can be raised, through the study diantranya story. The story of life in kelisanan traditions can contribute to the development of the child's emotional intelligence.
The term emotional intelligence was originally put forward by two psychologists, namely Peter Salovy (Harvard University) and John Mayer (from New Hampshire University), and popularized by Daniel Goleman in his book Emotional intelligence: Why It Can Matter more than IQ (1995), which later became best sellers, including in Indonesia in the 1997 edition of the translation, Emotional Intelligence: Why EI More Important than IQ. The term used to describe a number of skills related to accurate assessments of the emotional self and others and the ability to manage feelings to motivate, plan, and achieve life goals. Furthermore, these skills translate into the ability to (1) self-identify emotions; (2) managing emotions and express themselves properly; (3) to motivate yourself; (4) identify another person; (5) and build relationships with people Other (Salovey and Mayer via Pertiwi, 1997).
Children who have high emotional intelligence akam have the ability to overcome various problems and tangtangan that arise during the process of development of adult human munuju. They are not an easy man desperate and give up, because the social skills and emotional intelligence, they can manage and express emotions properly and appropriately, can you overcome the challenges it faces, so that they can be called as a child who has emotional intelligence. Emotional intelligence in the child's life plays a very important role, because, as once pointed out by Goleman (1977), intelligence has a role only 20% of success and happiness in life of a child, while 80% other factors determined by fate and their emotional intelligence.
Emotional intelligence, according to the Earth, et al (1997), is not something that has a child by nature or innate, but it is something that can be learned and developed. Is the task of parents and pendididik (the teachers who teach students at every level of education) to teach and develop children's emotional intelligence through various efforts, including through the tradition of storytelling. Fairy tales can be used as a means of developing emotional intelligence for children.
Relation to the benefits of children's literature for the development of children's emotions, Bunanta (1998: 52) says that the literature, such as folk tales, teach children that people have different feelings and emotions, like love, hate, anger, sadness and joy, birth and death . In addition, through the work of a literary fantasy world of children perceive and understand the fear, frustration, struggle against injustice and evil, and became penenangnya.
Benefits of children's stories, especially fairy tales for the development of psychological (emotional) children, never investigated by Bruno Bettelheim, a child psychiatrist. Opinion based on his experience caring for troubled children. Bettelheim states that the characters in a fairy tale characters are isolated, outcast, and exiled. There are similarities between the children with problems with the characters in fairy tales. Troubled children requires leaders who, despite the image of a time in isolation and outcast, but capable of achieving victory and be rewarded for the benefit of his life. Next Bettelheim noted that tale has to give you confidence and able to children, also provides a view of life associated with morality (Bunanta, 1998: 53).
When we talk about the benefits of fairy tales in child develop emotional intelligence, then the first to realize the existence of a variety of areas digambarakan life in a fairy tale, ranging from things that are good until things worse. Therefore, we need to consider the myth (work) that need to be given to children, the more content in terms of giving a positive role model for children. Because, if not all fairy tales scrutiny, even a fairly popular tales, shows examples of human behavior is commendable. As a result, errors election stories, would be fatal. Moreover, as is often believed to be some people that the story often has a persuasive power (influence) is very smooth. In this case Langfeldt (via Bunanta, 1998: 54) says that to develop the nature of love and courage in children have chosen a story that has educational and moral values. Version of the story as Sangkuriang Gerdi W. K. seems not suitable for children in the context of emotional development, because it has a negative value that can teach a child to act harshly against her. This is shown through dialogue between Sangkuriang with Dayang Sumbi, his mother, following.
"I do not believe all of what you're saying. Even if you're really my mother,
I do not care! Really do not care! I'm still going to marry you "
"Sangkuriang, tidaak!"
"You can scream energy, who wants to hear?"
"Sangkuriang not! You have to throw that thought. Sin big, boy!"
"What is sin?" I'm not afraid! "
"My son, Sangkuriang, get a grip girl!"
"Aware? No I'm better mad! In the madness I'm more free! Nothing can mengaturku! Not even you! Look, however, and whatever has happened, you still will kuperistri!"
"Oh, no!"
Dayang Sumbi tried to run.
"No Sangkuriang, no!"
"Ha ha ha, do not run Dayang Sumbi!"
"It's me kakangmu! Ha ha ha ha ha ha ... ..."
"No! I'm your mother!"
"Ha ha ha, forget it! Now I kakangmu!"
Dayang Sumbi Sangkuriang pounce. But miracles happen, Dayang Sumbi disappeared from sight. He transformed into a flower (pp. 123-126).
The quotation above illustrates that Sangkuriang Sumbi intend to marry Dayang, who is actually his own mother. Thus, it is understood that Sangkuriang intends to commit incest with his own mother. Dayang Sumbi Sangkuriang resist, his son, but Sangkuriang still impose its will, even Sangkuriang intending to "pounce" Dayang Sumbi. But the miracle had happened, Dayang Sumbi turned into a flower, Sangkuriang intentions can not be realized. The scene depicting Sangkuriang desire to marry her mother, who described the "vicious", needs to be reviewed if the feasibility and delivery would be material to the consumption stories of children, because the scene is more negative values, although of course there are other literary depictions reversed that.
Thus, when we will provide stories to the children in an effort to develop a child's emotional intelligence, then we need to do some considerations. First, select the appropriate work with the world of children, both in terms of its characters or content. With these characteristics the child's work more easily identify themselves with the characters they had encountered from the work that they read (heard). Second, select the works that illustrate the lives that touch areas of emotional intelligence as the ability to recognize, manage, and appropriately express emotions, motivating ourselves, recognizing emotions in others and foster good relationships with others (Wiyatmi, 1999: 4-5).
Summary The following story, taken from Sundanese Literature pangajaran 'Teaching of Literature Sundanese', prepared by Budi Rahayu Tamsyah, et al. (1996: 154-156), is an interesting example.
There was a Tersebutlah students, has spent years studying at pesatren, but there is no progress in knowledge. The books that taught dihapalnya none. And he is diligent students and obedient in following the lessons given Ajengan. Because there was no progress, then he intended to return to his village. After getting permission from Ajengan, then departed.
Along the way, when he was seen resting against a rock dripping water. As he watched the stone, he thinks "trickle of water constantly hit the stone will leave a mark, of course, that had been decades. Just because the dripping water, hard rock such as that could change."
He pondered and thought he saw natural events. In his heart he said; "
This event deserves to serve as an example; if any one wants to work diligently to realize the meaning and patience. Therefore, although it should bear the shame, I'd better go back to boarding school. Hopefully what had aspired to. "(Adapted from the story Ninggang Cikaracak Stone, gradually, gradually So Legok).
From the story, children can learn how the characters change. People who once students get discouraged because they feel there is no progress although it has long studied in pesatren, so he determined to return to kampunya, but after seeing the natural scene as he rested on the way, he was aware that if you want to succeed, it must be diligent and patient. The story can give an example to children to become people who can motivate themselves without having to wait for help from others. In addition the importance of teaching children how to manage emotions and reflect the natural events around us that seem trivial but very important. Here the children are also faced with the question of how those who do wrong because it carried no emotion embarrassed to admit his shortcomings, even trying to study harder.
V. Conservation tradition Present Oriented
By considering the benefits that can be learned from the marginalized cultural heritage, it will reinforce the notion that more is not always a classic with features nuanced 'kemasalaluannya' excluded from life. Even if we dig it back with a wise and fair, will find the values of the past that are still in accordance with the current life.
Conservation kelisanan tradition in children absolutely do, because many positive aspects that can be taken in the effort to empower children. Interwoven communication between children and parents who eroded due to various interests, can be glued back through the tradition of storytelling. Our children deserve didongengi. They need a fairy tale because it requires enriching experience Untk inner emotions. At the time listening to stories, children's emotions have always been influenced by the movement of the themes and issues in a fairy tale. When children get the stories funny humor backed by the storyteller, then the child will feel happy. Conversely, when the children get stories sad and scary, kids will show the feelings of fear and anxiety heart condition.
Through the storytelling tradition, social contacts will terbina also because the tradition of storytelling to promote the importance of social development of children. Interaction between storyteller and listeners will shape the socialization process so that children will be able to be a community. To be able to open the storytelling tradition of interaction patterns, so when a speaker told the story once, children are invited to discuss the story he had heard. Encourage the child to live the story that was submitted to the dialogue. If the child is expected to be back telling his story, accompanied by commentary. Then hold a discussion about the benefits that can be learned from the story. This is where the role of parents and teachers are expected to guide the child in preserving the tradition of storytelling.
Tradition of storytelling in the school needs to revive. For that portion of the teaching of literature in schools needs to be supplemented and specifically placed in separate containers. Not like the current, as Boen S. Oemarjati, that literature is taught as a sideline in the Indonesian language teaching, literature in language teaching diomprengkan (People's Sovereignty, June 17, 2001: 7).
If fairy tales as cultural heritage will become a mainstay in the preservation of tradition kelisanan in children, there must be a 'modification' of fairy tales such as the structure, pembahasaan, and pengkarakteran. This was necessary because the target audience has changed. Dekontruksi of fairy tales have to be done in order not more abandoned children, but can compete with the rush of text and pop television media presence.
If the films shown have color television in all 'the tools of life' children, such as t-shirts, books, shoes, such as Teletubbies that is currently the idol of children and enticing a label for the entrepreneur, why not appointed figures tales with cultural background and the setting where the artistic ornament on consumer goods that interests children.
Surely it would be better if the creator, trying mengegelar many of his works that are rooted in tradition kelisanan through the medium of television, as has been done by Garin Nugroho. Through Children Thousand Island, Garin impressions pioneering multicultural message. In Pustaka Anak Nusantara, Garin tried to broaden this understanding with an emphasis on aspects of character that became part of civil education. These measures should be followed by other creators in the lifting of the nearly extinct tradition.
VI. CLOSING
Can not be denied that progress will impact on the tradition that has roots in the community. Shift or even destruction of a tradition is a natural process. Continuity of a tradition does not stand alone. Many factors also influence and contribute towards sustainability which can be formed.
Alienated from the contemporary tradition of touching many areas including kelisanan tradition in children is jailed business tradition itself. In contiguity culture, tradition and contemporary concepts are not two dichotomous values, both are part of a whole world, which is not divided into boxing.
Before we lose the richness that we have, then we better be wise, because life does not recede into the background and not too tied up in the past.
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