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From the above discussion, it is arguably true that what Mr. Sudiono performed is clearly linked to the theories I have outlined in 2.6.3.3 dealing with Speech Decorum as
another prelude to the investigation of the generic structure.
4.5 Generic Structure
Upon completion of the identification of the communicative purposes of the stages of development, it is necessary to formulate the generic structure of a Pranatacara
genre in a table as follows:
Table 4-13 Generic Structure of Pranatacara Genre
No Stage Activity
Communicative purpose
1 Opening Introducing
the program
To develop interpersonal relation between the Pranatacara and the
audience
2 Itemizing
Reading out the items in the program
To inform the audience of the items in the program
3 Describing 1
Describing the wedding procession
To inform the audience what is going on with the wedding
procession
4 Transitioning 1
Inviting Mrs. Probo Asmane to deliver her
thank-you address. To inform the audience of the
thank-you address by Mrs. Probo Asmane
5 Transitioning 2
Commenting Mrs. Probo Asmane’s address and
inviting Orchestra D’Angelis to perform
To inform the audience of the intermezzo by Orchestra
D’Anglelis
6 Intermission 1
- -
7 Transitioning 3
Commenting on the intermezzo and inviting
those involved in the To inform the audience of the
welcome address of Mrs. Veronika represented by those on
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welcome address of Mrs. Veronika
duty 8
Transitioning 4 Commenting on the
welcome address and signalling the ritual of
Tumplak Punjen to commence
To inform the audience of the next item, Tumplak Punjen, and
to direct those on duty
9 Describing 2
Describing step by step of the ritual of Tumplak
punjen, and signalling grandchildren to come
forward To inform the audience of what
is going on with the ritual of Tumplak Punjen and to direct the
grand children what to do
10 Transitioning 5
Thanking for the success of Tumplak Punjen,
requesting Orchestra D’Angelis for their
second performance To inform the audience of the
second performance of Orchestra D’Angelis
11 Intermission 2
- -
12 Transitioning 6
Praising the bride and groom for their singing,
and signalling the photo- taking session
To inform the audience of the photo-taking session, and to
direct those who are supposed to participate in it.
13 Closing Thanking
the audience
for the attendance, directing the bride and
groom to say good-bye to the guests and
apologizing for any inconvenience
To inform the audience of the end of the reception, to direct the
hand-shaking activities with the bride and groom.
Following Eggins’ 1994 description of a generic structure, the above generic of Pranatacara genre can be represented as follows:
OID
1
T
1
T
2
Inter
1
T
3
T
4
D
2
T
5
Inter
2
T
6
C in which the order of the stages is fixed for this particular event and cannot be
generalized for different events. However, there are three obligatory stages that should be
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present in a Pranatacara genre. They are 1 O, 2 I, 3 D, 4 T and 5 C. The order of O and I are fixed as one after the other in the beginning of a reception.
The D and T are situational and recursive; while C is obligatorily at the end. The only non-obligatory stage is Inter, meaning that it may or may not be present in any
reception. Since the reception held to promulgate the marriage of Mr. S. Aji Nugraha and
Mrs. L. Yekti Nugraheni is called ‘Tumplak Punjen’, some of the stages that normally as previously discussed occur in a wedding reception have been omitted, such as ‘panggih,
balangan gantal, sungkeman, etc. Therefore, it should be noted that the communicative purposes of the generic structure are the summaries of the communicative purposes of
the generic stages. From the generic structure of Pranatacara genre, the responsibilities of a Pranatacara can be outlined below.
A Pranatacara in any reception is responsible for 1 creating a conducive environment of the reception by making good
rapport with the audience in the opening stage; 2 skilfully itemizing one point of activity after another;
3 skilfully making smooth transition of one point of activity after another;
4 skilfully describing any activity that should be described; 5 skilfully directing those involved in any activity
Creativity of a Pranatacara is highly required because the items of activities may be different from one wedding reception to another. Therefore memorizing
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sentences that will be used is somehow discouraged. He has to spontaneously say something in accordance with the on-going activities. Therefore, it is obligatory for a
Pranatacara to be fully knowledgeable in the Javanese language, not a matter of ‘copy’ and ‘paste’.
4.6 Linguistic Features
