Discussion on Generic Structure and Cultural Heritage

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4.9 Discussion on Generic Structure and Cultural Heritage

In the above two discussions 4.2 and 4.4, the Pranatacara, Mr. Sudiono has been highlighted in terms of his general performance, especially his physical attributes, self confidance in accordance with the Javanese philosophy. It turns out that he has met the standard requirements as a good Pranatacara. Below is presented how Javanese is used in a Pranatacara genre with, of course, a particular attention to the use of Javanese by Mr. Sudiono, the subject of the study. Talking about a genre, the mind set is directed to a meticulous type of text, that is a text chararterized with its own registers in terms of diction, grammatical metaphors, and philosophical basis. With respect to the performance of Mr. Sudiono as the Pranatacara in the marriage reception of Mr. S Aji Nugroho and Mrs. L. Yekti Nugraheni held in the Month of May 2007, he has performed well in proportion to the genre of Pranacara discourse. First of all, in the communicative purposes of Pranatacara genre, he managed to control all activities in the marriage reception, such as 1 welcoming the audience, as one way to create good interpersonal relation, 2 informing everyone involved of the items that will be undertaken, 3 directing the people on duty as to what to do in a particular item, 4 describing the activities from the beginning to the end, and finally 5 acting as an entertainer. In addition, Mr. Sudiono managed to highlight the obligatory stages of Pranatacara genre within a particular event, such as 1 opening, 2 itemizing, transitioning one item to another, and 3 closing the whole unified event. In doing so, he used a specific form of Javanese as required by the contexts of both situation and culture. The situation was created in such a way to represent the marriage of the Prince 216 and Princess even though both the bride and groom were of common individuals. This was accomplished by means of proper hyperbole in describing the event. In terms of culture, Mr. Sudiono managed to drive the event into the culture of the ancient Javanese in which the diction represented that of a royal family, by occasionally using archaic words of Javanese, which are not normally used in daily exchanges. However, the archaic words being used have been commonly understood by the contemporary Javanese society in proportion to the communicative purposes. To accomplish the production of the culturally and situationally based monologue, which was at the same time descriptive and communicative, Mr. Sudiono made use of his Javanese knowledge and skills in phonological, lexical and syntactical terms. In terms of phonology, for example, he managed to phonologize articulate the monologue resembling that of a Dalang 11 with a particular intonation and word stress not normally used in daily exchanges. Lexically, Mr. Sudiono managed to manipulate the words according to the rules of Javanese morphology, such as the use of polymorphemic words in both derivations and inflections. Syntactically, he also used a variety of syntactic constractions at both phrasal and clausal levels. Most significantly, the monologue was produced immediately in response to the situation. In other words, there was no prepared text. It was well- accomplished. Sub-research question 4 is thereby answered throughout the above discussion, especially in 4.8.1, 4.8.2, 4.8.3 and 4.8.4 in which there is no other way than maintaining the features of the Pranatacara genre. These include 1 non-linguistic features, such as Javanese costumes, Javanese music gamelan, and setting; and 2 linguistic features, 11 Dalang is someone who performs a Javanese shadow play 217 such as at phonological level special stress and intonation, morphological level choice of archaic lexical items along with the morphological process, syntactic level phrases and clauses and rhetorical strategies, such as pleonasm and hyperbole. The absence of any of the above features will only result in the disappearance of the communicative aspects and cultural heritage that characterize and distinguish Pranatacara discourse, as also stated by the expert ‘Wah la punika Pak Karno ingkang kedah dipun uri-uri mboten kenging dipun ewahi, amargi menawi dipun ewahi lajeng mangke kecalan ‘ruh’ ipun Well, that’s it, Mr. Karno. It should be preserved and cannot be changed because if it is changed, it will lose its ‘generic spirit’ See Appendix 3.

4.10 Theoretical Contributions