T1 112012705 Full text
THE SOCIAL POSITION OF WOMEN AS REFLECTED IN AHMAD TOHARI’S
TRILOGI RONGGENG DUKUH PARUK
THESIS
Submitted in Partial Fulfillment
of the Requirements for the Degree of
SarjanaPendidikan
Jaqueline Rosarina P
112012705
ENGLISH DEPARTMENT
FACULTY OF LANGUAGE AND LITERATURE
SATYAWACANACHRISTIANUNIVERSITY
SALATIGA
2013
1
THE SOCIAL POSITION OF WOMEN AS REFLECTED IN AHMAD TOHARI’S
TRILOGI RONGGENG DUKUH PARUK
THESIS
Submitted in Partial Fulfillment
of the Requirements for the Degree of
SarjanaPendidikan
Jaqueline Rosarina P
112012705
ENGLISH DEPARTMENT
FACULTY OF LANGUAGE AND LITERATURE
SATYAWACANACHRISTIANUNIVERSITY
SALATIGA
2013
2
3
4
5
THE SOCIAL POSITION OF WOMEN AS REFLECTED IN AHMAD TOHARI’S
TRILOGI RONGGENG DUKUH PARUK
THESIS
Submitted in Partial Fulfillment
of the Requirements for the Degree of
SarjanaPendidikan
Jaqueline Rosarina P
112012705
ENGLISH DEPARTMENT
FACULTY OF LANGUAGE AND LITERATURE
SATYAWACANACHRISTIANUNIVERSITY
SALATIGA
2013
6
Introduction
The issue of gender rapidly spreads out and deserves serious attention of many
observers. It is based on the fact that the previous social analyses are likely to put the gender
discourse aside. Kramarae (1986), states that gender is division of men and women that is
caused by heterosexuals need that institutionalized male sex domination and female’s sex
obedient. Nowadays, not only female writer who expresses deep concern over the woman’s
problem but also male writer, one of them is Ahmad Tohari. Ahmad Tohari is an Indonesian
well-known writer who can picture the typical village scenery very well in his writing.
Ronggeng Dukuh Paruk which consists of Catatan Buat Emak, Lintang Kemukus Dini Hari
and Jentera Bianglala was considered as his masterpiece by literary critics(Ahmad Tohari:
Karya dan Dunianya, 2003a: v; Yudiono K.S., 2003: 53). Structurally, the novel narrates the
firmness of a woman in her effort of relieving herself from man domination in her village as
represented by Srintil, the main character of the novel. She is a caretaker of the spirit of her
predecessor’s belief that has to serve her body to satisfy the sexual need of the men
surrounding her. Her failure in reaching the image of housewife represented the loss of her
consciousness can be recognized as an absolute denial against man domination. On the
whole, the writer is interested to analyze the social position of some characters that represent
in it and the main character in the novel.
The primary objective of this study is to learn the social position of women through the
novel of Ronggeng Dukuh Paruk by Ahmad Tohari. The novel is portrayals of gender
problems caused by the local tradition. Moreover, this study will also analyze the major
characters appeared in the novel Ronggeng Dukuh Paruk. The aim is simple; to show the
readers the main problem of the social status of women through Tohari’s works Ronggeng
Dukuh Paruk.
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This study of literature includes the depiction of fictional female character, Srintil. In
the patriarchal system, a system which contains views that men are more dominant than
women and sons or daughters in the family or society, Srintil is forced to ascribe the position
of ronggeng. She is in the traditional patriarchal system of her village recognized as “an
object” of men’s possession. Because of the assumption, men are encouraged to conduct
violence in many manifestations as pornography like rape and sexual harassment. Therefore,
the identity of women is reduced to merely biological sexual aspects by making use of their
bodies as the object of possession.
Up to this point, by using the approach of feminist
literary criticism, I see the social position of woman as a Ronggeng is the minor one.
The writer limits the study of the social position of a Srintil as a female protagonist
character related with Rasus and Marsusi as male characters and also Srintil related with Nyai
Kartaredja. The study will deal with women’s role in the society, in the family and her right
to freedom, represented by Srintil who lived in a male dominated society. In order to observe
the social position of women, the writer will explore Srintil’s struggles experiences to pursue
what she wants in her life.
As it is stated by Annas and Rosen (1990:1451) that “literature should move us in some
way, have an emotional effect on us, and that it should have everlasting value”, I expect that
this study will bring valuable idea for the readers realize the importance of women’s freedom.
By reading Ronggeng Dukuh Paruk, the writer hopes the readers realize that every woman
might not get the same chance to have their freedom. For that reason, it is better for women to
know how to apply their struggle physically and mentally against men, but it is more on how
we appreciate the existence of women as equal creatures with men. The writer hopes that
after reading the journal, the readers will gain insight into gender discrimination’s topic that
is expressed in literature. It is also hoped that the readers will be interested in carrying out a
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further study of other similar topic. On the whole, the writer hopes that this study will have
everlasting value for the English Department of Satya Wacana Christian University.
Theoretical foundation
In Javanese culture, as explained by Mulder, women or mother is not allowed to place
their feet on the outside world as well as win the breads because they are assumed to be the
loveable beings who are obligated to teach and nurture their children. It means that she
(women) doesn’t need to take care of the problem outside the home. In effect, men and
women tend to face many clashes because they used to handle different obligations in
different ways. In Javanese society, women occupy a subordinate position. According to
Darwin and Tukiran (2001:7), there are many strict traditions such as secluded (dipingit) for
teenage girls. That concept is not strange since Javanese culture considers women as a
“kanca wingking”, a friend in the inner part of the house, which tasks are “olah-olah”
(cooking), “umbah-umbah” (washing clothes), “mengkurep mlumah lan momong bocah”
(satisfying men’s sexual desire and taking care of children) ( Purwadi and Munarsih,
2005:233). According to Darwin (2001:23) woman's position is as a man’s property.
Obedience, dependence and submission are an image of the Javanese women’s generosity.
Male dominances in many aspects of social life bring few theories toward man and
woman. One of the theories is Feminist Theory. The aim of Feminist Theory is to understand
the nature of gender inequality. It examines women’s social roles, experience, interest, and
feminist politics in a variety of fields, such as anthropology and sociology, communication,
psychoanalysis, economics, literary education and philosophy. Women’s oppression is
always changing over time and it also carries to another form of oppression. According to
Jane Flax (1987) the study of gender relations includes but is not limited to what are often but
it's considered the distinctively feminist issue: the situation of women and the analysis of
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male dominance. When ronggeng accepts men’s offer to accompany and ronggeng starts
receive payment of it, this is how the nature of oppression begins. As men didn’t accept
rejection, they will force the ronggeng and if the ronggeng still did not want to accompany,
they will use any kind of way to get ronggeng that will brings to the other form of
oppression.
It is not denied that tayub as a local tradition still part of patriarchal ideology.
Ronggeng as a tayub’s dancer chains the local tradition with patriarchal culture. Ronggeng
works to entertain people in general and man in particular. As their job to satisfy what man’s
want, it makes man sees women not more than just an object. Moreover, ronggeng’s stages
still below man as they only use their body to earn money. That relationship between
ronggeng as a local tradition and men as a person who enjoys ronggeng gives good benefits
on both sides. Tayub attracts people to gather wherever it is. As people gather at some place,
the neighborhood will get busier and more alive. It gives good benefits as they see an
opportunity in it. When there is a ronggeng dances, there is another life begins. As a result of
patriarchal in society, women’s role which is created by men is only related to domestic
domain. This is how the tradition maintaining the patriarchal culture.
In Javanese society, marriage is also influenced by the patriarchal system, which
always creates women as subordinate (Kartodirdjo. 1987:192). Married women do not have
freedom because they do not have access to the men’s authority in giving status and name to
their children. Feminist criticism, Virginia Wolf, mentions that men will always view women
as the secondary which have lower class. She mentions that it is men who define what it
means to be women. Those roles above bring disadvantages to women.
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Synopsis
The novel is basically about the life story of Srintil as a ronggeng dancer in a small
village named Dukuh Paruk. The people of Dukuh Paruk believe that ronggeng is not
something that can be taught; instead it is only the chosen one who can be a ronggeng. In
order to be the chosen one, a woman should do all the three requirements before she can be
officially called as a ronggeng. Firstly, she should perform in Dukuh Paruk before she visits
the grave of Ki Secamenggala as a pilgrim. Secondly, she has to take a ritual of bathing and
then perform before the cemetery of Ki Secamenggala. The last one, she has to do the sexual
ritual called “bukak klambu”, which means she is going to give her virginity to the man who
has already paid a sum of money. The people of Dukuh Paruk are not well educated, so it is
usual for them to speak in dirty languages, and they even do not think that marriage is sacred.
There is a man named Rasus who has been a friend of Srintil since they were kids. Srintil
becomes a famous and rich ronggeng dancer, and Rasus becomes a soldier in faraway places.
However, the good condition of Srintil as a ronggeng dancer doesn’t last very long. In 1964,
the political condition at that time forces people to be suffering. Many ronggeng dancers are
sent to prison because they are indicated of the communism. However, in the end of the story,
Rasus went home to see Srintil and to fight for his true love.
Discussion
Srintil is the main character in the novel. Basically, the story of her life can be divided
into three: a 11 year old Srintil (when she first became ronggeng), a 17 year old Srintil (when
she is a famous ronggeng), and a 23 years old Srintil (when she gets out of the prison). In the
first stage of her life story, when she’s 11 years old, Srintil has proven herself that she was
born as a ronggeng. It is supported by the fact when she played with Rasus and other kid, 11
years old Srintil is able to sing and dance like a ronggeng. Srintil decides to become a
11
ronggeng by the society of Dukuh Paruk. As a matter of fact, Sakarya and kartareja decide
Srintil to become a ronggeng without asking Srintil whether she accepts it or not. However,
Srintil at first accepts the job gladly, because she gets more attention in the society. Besides,
many people serve her by washing her clothes, giving her food, and receiving many
compliments. She is surrounded by people Dukuh Paruk who admire her as a ronggeng.
Furthermore, many women in Dukuh Paruk want to dance tayub with Srintil because she is
like a queen. At the beginning, Tayub birth for the sake of fertility of the crops. Tayub was
believed to have magic powers and influences on the ceremony. Tayub, thus, become the
central force as equal slametan or even shalat tahajud (pray) for the santri (Surur, 2003:10).
From that point, it can be concluded that the profession of ronggeng in Dukuh Paruk is an
honorable profession. Moreover, people in Dukuh Paruk intend to preserve the culture. Thus,
Srintil is very glad to be a ronggeng in the society. In addition, her profession as a ronggeng
makes her more honorable in the society and in her village especially.
Before officially becoming a ronggeng, Srintil has to do the ceremony of bukak
klambu. This ceremony of bukak klambu is part of the ritual ceremony in Dukuh Paruk.it is
like a men’s competition to exploit the virginity of a ronggeng-to-be. It symbolizes the unity
of the ronggeng and Ki Secamenggala. Therefore, men who can open ronggeng’s klambu are
a chosen man. In this ceremony, there is a prostitution element which hides in the culture.
However, it is not wrong in the society, that prostitution is the phenomenon in the ceremony.
Indeed, a woman will never be a ronggeng without doing this ritual of bukak klambu. Women
who want to be a ronggeng are forced to do this ritual by the men if they really want to be a
ronggeng.
Srintil actually does not know the real meaning of bukak klambu. Her belief that it’s
part of the myth and local tradition rule. It is obviously seen by Srintil’s perspective who see
that bukak klambu is a must thing to do for a ronggeng-to-be. She is convinced by the words
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of Nyai Kartareja who offered her gold after she does the ritual of bukak klambu. Therefore,
the 11 years old Srintil considers that the ritual is a common thing, and it is a ritual that a
ronggeng should participate if they want to be a ronggeng. In order to be able to participate in
the ritual, a man has to pay some amount of gold. For those who do not fit the criteria, he
cannot participate in the ritual ceremony of bukak klambu. On the other hand, for those who
are able to pay the gold, he can participate in the ritual by signing in Dukuh Paruk and paying
the gold to Kertareja. Dower is successful participating in the ritual ceremony. He comes to
Kertareja and gives him a big cow and money. Dower, as a matter of fact, stole them from his
parents. The other man who comes to kertareja is Sulam. He comes to Kertareja and gives
him the gold as the terms. Cunningly, Kertareja accepts two men because he thinks he is
going to have big profit from this. Money from Sulam will be given to Srintil, while the cow
from Dower will be kept for himself. In here Srintil already break the tradition and against
the rule of what the tradition should be. She tricks not only Sulam and Dower who already
pay for what they want for but also Nyai Kartareja for she thinks that Srintil will service both
of them. By the end, Srintil gives her virginity to Rasus without asking permission to Nyai
Kartareja. In Previous study of Suzana Maria (2011) stated that this particular fragment is
used to strike at the patriarchal value about virginity that is being contested. She also said,
“The patriarchal system tends to place women as object and adornment for men is unfair and
sometimes unreasonable.”.
From the night of the ceremony bukak klambu, ronggeng is not only a traditional art,
yet is becoming prostitution. The position of ronggeng is as the object of men lust. Women,
on its position, no more than a good that can be sold. Therefore, the sex exploitation that
happens in the life of a ronggeng makes positions of women in the society becomes very low,
and in fact lowers than men. Women in ronggeng are matter only because they are part of the
entertainment of men. From the point Srintil becomes officially a ronggeng in Dukuh Paruk
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by participating the ritual ceremony, her fame is all over Kecamatan Dawuan, Srintil’s
activity always become the rumor that people always talk to. In a short time, Srintil has
become a famous and rich ronggeng in Dukuh Paruk. She has jewelries that most of the
women in Dukuh paruk do not have. To Srintil, attention that people give to her, including
temptation from the men who adore her is a symbol of fame that she can get from being a
ronggeng in Dukuh Paruk. As a symbol of fame, it makes Srintil has a role in society but, her
actual role is made from a domination of a man power in public. Therefore, Srintil is really
proud of being a famous and rich ronggeng. As a matter of fact, men can fight to each other
in order to get a night or two with Srintil. The demand of herself to perform and entertain is
getting higher and higher as she becomes more professional each day. Srintil believes that her
profession as ronggeng in Dukuh Paruk is an honorable job. However, when she is 17 years
old, she has a different point of view in looking her life as ronggeng in Dukuh Paruk. It starts
when Srintil meets Rasus, her childhood friend. She is in love with him and deep down in her
heart, she wants to marry Rasus. Whenever Srintil sleeps with the other men, she always gets
money, yet when she sleeps with Rasus, she never asks money to him.
However, when Srintil asks Rasus to marry her, surprisingly, Rasus refuses her
proposal. Although the tradition said that ronggeng is forbidden to have bound or relationship
with a man, it just don’t make Srintil Forget about Rasus. Rasus does not want to spoil the
tradition of Dukuh Paruk by marrying Srintil. Rasus thinks that the sexual relationship
between Rasus and Srintil is considered as a common thing that a ronggeng should do. The
existence of ronggeng in Dukuh Paruk is the part of village’s history. Dukuh Paruk is not
“Dukuh Paruk” unless it has ronggeng dancer. Therefore, it is not surprising that the people
in Dukuh Paruk are excited when they elected someone a ronggeng dancer, and it happens as
Srintil is the chosen person. As a matter of fact, a person in Dukuh Paruk welcomed Srintil in
many ways, for example people wash Srintil clothes, baths Srintil and provides her daily
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needs. In fact, people compete to serve Srintil at their best. Furthermore, the wives will be
proud if their husbands had chances to sleep with Srintil. To the people in Dukuh Paruk, it is
not a sin, because it is part of the culture that Dukuh Paruk has maintained for ages. Srintil,
as a matter of fact, is a ronggeng that should be the property of all men in Dukuh Paruk. The
good thing about being the chosen one with all the fame and fancy things means nothing.
Srintil is choosen to be a ronggeng, not a queen, a ronggeng who is willing to sleep with few
men in order to get paid. Stay up late in order to satisfy men are regular activities for Srintil.
She did a lot of things for Dukuh Paruk. Her devotion to Dukuh Paruk means nothing, she
might be served by people in Dukuh Paruk but, she lost her childhood, she lost her love even
she lost her virginity in order to follow the tradition. Her presence in Dukuh Paruk is no
more than just an object. She has no choice because she is the chosen. Those entire things
make Rasus feels nothing special about his relationship with Srintil. By society and all men in
Dukuh Paruk, Srintil has been just an entertainment and object of lust that could be used
anytime they want.
When Rasus declines Srintil’s proposal, it makes her thinks about the new thought.
Srintil does not accept the fact that she was rejected by Rasus makes her protest by his own
way. Rasus is very nationalist; he loves where he came from and belongs. Moreover, he also
appreciates every single thing about Dukuh Paruk. That is why he refuses Srintil’s proposal.
So far, Srintil assumes that all men would be glad to be beside her, and the men will do
anything to be with her. However, Rasus declining of Srintil’s proposal makes her heart
broken. Her honor as ronggeng suddenly falls apart when Rasus say this:
“It’s impossible for me to marry you. You belong to Dukuh Paruk.” (Tohari
1995:90).
15
Rasus honestly speaking in front of Srintil that nobody can’t own Srintil, even Rasus, the love
of her life. Srintil is no longer a “person”, she is a ronggeng of Dukuh Paruk. She is Dukuh
Paruk’s property and Rasus understand about that. That’s why Rasus refuses Srintil’s
proposal.
The manners and rules of that only man who can propose is being broken by Srintil
as she asked Rasus to marry her. The condition is upside down with the situation and the
culture by that time in which only a man who is allowed to propose woman. Therefore,
Rasus’ rejection of Srintil’s proposal is quite normal, as Rasus only sees Srintil as the woman
who fulfills his sexual need. This decision becomes a major factor in the growth of Srintil
personality. She becomes brave and tough to break the rule of ronggeng policy. Dukuh Paruk
shows its power over Srintil by positioning Srintil as Dukuh Paruk’s property. Dukuh Paruk’s
been given many things for Srintil. However, Dukuh Paruk also limits and set boundaries to
Srintil. As a matter of fact, Srintil’s life in Dukuh Paruk is being controlled by culture and
society in Dukuh Paruk. This is incomparable with the regular life with any common women
in Dukuh Paruk. Despite her fame, she is still Dukuh Paruk’ possession and always placed as
the secondary.
The fact that Rasus refuses Srintil’s marriage proposal makes her upset. Rasus is
strongly disagree with the myth, ceremony and rules by his own local tradition that he thinks
as a stupidity by the local people. He no longer sees Srintil as his mother figure because
Srintil already become a ronggeng. The image of women from that time makes a woman
have to be as ordinary as they can. Feels not fit and comfortable with the tradition, Rasus
decided to leave Dukuh Paruk to have another experience of life as can be seen from this
quotation :
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“My steps were firm and sure. I, Rasus, had finally found myself. I was
leaving Paruk Village, all of its inhabitants and their values.” (The Dancer,
111)
By Rasus decision, Srintil thinks every moment that she has passed as ronggeng
dancer just useless. First, Srintil is willing to become a ronggeng dancer because it looks
charming. But she realizes that becoming ronggeng dancer is not as good as she thought
before. As a matter of fact, the world of ronggeng gives Srintil the identity as a prostitute. In
Encyclopedia Brittanica (1961) there is a definition about a prostitute, which is a woman who
provides or shows her body to rent for sexually. As it is said by Nawal El Saadawi, women
are objects used for commercial exploitation, working without wages at home and fields,
having waged works outside the house, and working for free inside the house. They have to
bear children for the sake of the society reproduction. They also become sexual objects to
satisfy men’s desire and lust (Saadawi, 2001:171).
In the village’s tradition, the role of ronggeng dancer is not only to dance, but also to
“serve” men. Moreover, a man who had a chance to sleep with a ronggeng is considered as
the “real gentleman” in their eyes. In other words, ronggeng is created in order to serve men’s
lust. On the contrary, a ronggeng is considered as a “servant” who fulfills men needs in a
sexual way, in spite of the fact that the existence of ronggeng is really important in the Dukuh
Paruks culture. In addition, husband and wife will not have a quarrel if someday the wife
knows that her husband sleep with ronggeng dancer in Dukuh Paruk. The sensation of
ronggeng’s dance can be found from ronggeng’s erotic body language that refers to the
fetish, which is the object that is adored because, its power of charm. When the ronggeng
dances in tayub, men can show their “man-ness” by dancing along with the ronggeng in the
stage. There has been an appeal that men should not conceive of woman as sex objects. But
this statement has been interpreted inappropriately. Kourany, Sterba, Tong (1993) as cited in
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Handayani (2002) argue that one plausible, but inappropriate, interpretation of “men ought
not to conceive of women as sex objects” is that men ought not to conceive of women
exclusively as sexual partners. Handayani (2002) also added this interpretation loses it
reversionary impact, since even a male chauvinist could accept the interpretation without
changing his conceptual structure in any way: which is only to say that men do not usually
identify or conceive of woman as a sexual partner. The body of ronggeng that is supposed to
be a private one, no longer remains private, instead the people of Dukuh Paruk own the
ronggeng’s body. As a ronggeng in Dukuh Paruk, Srintil burden the responsibility for the
sexual needs and economic needs of the people of Dukuh Paruk as people in Dukuh Paruk
always put harmony and togetherness in the first place. Basically, kinship and mutual aid
become their major principal. All people in Dukuh Paruk born with that burden.
Gold is one standard that people should have to live in fancy life, but not for Srintil as
she refuses Marsusi proposal. Marsusi thinks if he brings jewelries along with his coming to
see Srintil, Srintil will open up her arm to serve Marsusi. Marsusi knows that Srintil and Nyai
Kartareja love jewelries. Who doesn’t anyway, all women must be likes jewelries but, not
this time for Srintil. All the jewelry that he offered to Srintil means nothing in front of her.
Marsusi is a foreman of a plantation, with his wealth, he may give Srintil everything that she
asks if Srintil is able to go with him or maybe accompany him for two or three days. Man
absolute power is pretty dominant as Marsusi didn’t accept rejection. This absolution brings
many points of view toward women and of course patriarchy culture control social behavior
of people in Dukuh Paruk.
Yet, Srintil has been tough enough to refuse Marsusi proposal. She settled down in
her decision to not serve man any longer. She is not afraid with Marsusi or Nyai Kartareja as
it is cited from the novel,
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“Because his (Marsusi) finger was pointing directly at her, Srintil looked up.
While Mr. and Mrs. Kartareja looked frightened, Srintil showed virtually no
emotion at all. As her eyes calmly met his, he lowered his hand.” ( The
Dancer, 161)
Not only making such kind of gestures. She also has gut to refuse Marsusi proposal as said
““Whatever you might say, sir, it is a simple matter. You want to buy
something here but the shop is closed. It’s as simple as that, sir.” (The Dancer,
162)
In the end, only anger and swore words that came out of Marsusi mouth.
This condition is very contrary to the idea of women should act toward men. Srintil
bravely broken down the tradition of what ronggeng should behave as she refuses to serve
Marsusi. Meanwhile woman in that era is being put below man in any part of social life. As
Srintil becomes famous ronggeng, it doesn’t mean she became number one in every position.
She still is putted down below. Marsusi won’t be angry to Nyai Kartareja or Tampi. He won’t
be angry with any women in Dukuh Paruk. He is only angry to Srintil. Srintil as a ronggeng
and reject Marsusi seems ridiculous for Marsusi as people like Marsusi who wants to meet
Srintil and being accompanied by Srintil see Srintil not better than just a lady’s companion.
Srintil always putted as a secondary and she starts to fight to get her position as a normal
human being back. Srintil didn’t mean to be known as super woman yet only a ronggeng
who already feel sick of her previous life as a ronggeng who serves man’s lust.
Nyai Kertareja is the second woman that will be discussed in this paper. She is
described as the shaman woman in Dukuh Paruk, and is more than 50 years old. She used to
be a ronggeng in her youth like Srintil. The difference between Srintil and Nyai Kertareja is
only the popularity as a ronggeng in Dukuh Paruk, as for Srintil she is quite a famous
ronggeng, while Nyai Kertareja was not a famous one. In fact, she changed her career as a
19
Shaman in Dukuh Paruk with her husband Kertareja. Her role is only to be a “parent” for the
chosen woman who soon will be a ronggeng in Dukuh Paruk. She teaches her knowledge as a
ronggeng to a woman who is elected ronggeng in Dukuh Paruk. She teaches the way
ronggeng should dress, behave and serve men. The function of shaman is quite obvious when
Srintil become a ronggeng in Dukuh Paruk. She is the woman who arranges all Srintil
schedules, from dancing to serve men. In fact, she also decides how much men should pay for
sleeping with Srintil in Dukuh Paruk. She makes Srintil like her pet by deciding many things
for Srintil, for example when in the night Srintil is supposed to dance and in the day light she
is supposed to serve men who is willing to sleep with her. A man who wants to sleep with
Srintil has to ask Nyai Kertareja’s permission first before he could sleep with Srintil. Up to
this point, Nyai Kartareja dominances are very clear. She might be only stand beside Srintil
as Srintil become the star of every performance but, Nyai Kartareja has power over Srintil.
Nyai kartaredja has higher position also as Srintil always obey her.
Her existence as a “parent” who teaches good points about manners and live properly
is being dubbed for she always take advantage of her “daughter”. Her dominance is quite
obvious when Srintil falls in love with Rasus. She could not, in any reason, give her
permission to fall in love with a man. She gives Srintil reason that as a ronggeng in Dukuh
Paruk, Srintil has to obey the rules as a ronggeng dancer. However, the real reason Nyai
kertareja does not give Srintil to fall in love is simply because she is afraid if Srintil marries a
man and Nyai Kertareja will not get any profit anymore from Srintil. It is definitely seen that
Srintil is being oppressed not only by man but also a woman. The patriarchal culture gives
super impact for Srintil. She is not only receives bad treatment by man but also by woman.
Nyai Kertareja even entices Srintil the wealth as can be seen from this quotation:
“My young beauty,” said Mrs. Kartareja. Her hand stroked Srintil’s shoulder.
“It’s not good to refuse someone’s helping hand especially Mr. Marsusi. You
20
haven’t asked him where he wants to take you. You don't even know what
kind of gift he wants to give you this time.” (The Dancer, 157).
It is not common for ronggeng to refuse man’s big offer. However, up to this point Srintil
starts to refuse Nyai Kartaredja.
In no time, Srintil becomes a rich person, as well as Nyai Kertareja. People in Dukuh
Paruk eat gaplek as their daily food, yet Srintil and Nyai Kertareja’s family eats rice, and it
proves that their wealth is above the average of people in Dukuh Paruk. However, one day
Srintil refuses to follow what Nyai Kartareja asked. She does not want to serve Marsusi
sexually, even though Marsusi offers Nyai Kertareja an expensive diamond necklace if he
could have a sexual relationship with Srintil. As a result, Nyai Kertareja scolds Srintil and
swears so many rude words as can be seen from this quotation:
“So this is the way you repay our kindness? We provided you with the means
to be prosperous, but this is what we get in return; completely humiliated by
Mr. Marsusi. You, offspring of Santayib, you’re nothing!
“And yet you have the nerve to reject a hundred-gram gold necklace? Do you
think you’re rich? If you didn’t like the necklace you should have taken it for
me! You should service Mr. Marsusi anyway because everyone knows you’re
ronggeng and whore” (The Dancer, 162-163).
This condition makes the relationship between Srintil and Nyai Kertareja is broken.
The dominant position of Nyai Kertareja fades when Srintil is asked to dance in Dawuan for
the Indonesian Independence Day program. Nyai Kertareja even calls Srintil as “sampeyan”
which is so humane, not like she did to Srintil before. However, it should be italized that she
also teaches Srintil to become ronggeng which considered as an honorable profession.
Somehow, she also teaches Srintil to be professional during her works and protects her from
any unexpected things.
21
Conclusion
In addition, according to the novel, ronggeng that contains of prostitution is not
something that people feels so dirty, instead people respects the profession as a ronggeng
dancer. It is the fact because people in Dukuh Paruk see ronggeng dance as the heritage of
their ancestors.
The story of the novel basically contains the violations of the values of humanism
from the social condition of Indonesia in 70’s. Gender unfairness appears when people do not
see the others as the same creation before God. The discrimination happens among people in
Dukuh Paruk, for example the discrimination between men and women. In the end, the
victims will be the women, because they are supposed to be lower status than men even
though woman have a double burden as they not only work outside the house but also take
care of domestic things. This fact can be proved by the traditional culture called ronggeng
dance. Men have been using women to preserve the local tradition, the ronggeng dance, and
making prostitution out of it. The social condition of the ronggeng dancer is usually not far
from the world of alcohol, which in the novel is described as ciu or tuak, the traditional
alcohol drinking.
Furthermore, there is a searching for authentic values of the degraded world. The
searching of the authentic values is done by at least two characters, Srintil and Rasus. These
two characters can be concluded as the hero, since they are searching the authentic values in
their life. Moreover, the two characters have relationships with the other characters in the
novel and they create the problems that can be found in the story.
From the analysis given it can be concluded that the novel is not merely the
imaginative creation of the writer, instead it had a close relationship with the social condition
at the time, which is around 70s. The discussion about women social condition based on the
characters that can be found from the novel: Srintil, Rasus, Marsusi and Nyai Kartareja.
22
However, since Srintil is the main character of the novel, the main discussion is about her and
her conditions in relation with the world of ronggeng. Ronggeng, as a matter of fact, can be
concluded as the act of prostitution hiding in the name of the traditional culture called
ronggeng. Srintil is struggling for running from the ronggeng world, and on the other hand
the tradition is so powerful that she can barely run from it. This traditional culture is not only
supported by the men, but also the women in Dukuh Paruk. The tradition of ronggeng that is
inherited by Srintil does not make her happy, instead make her miserable. Therefore, she is
searching the authentic values that she believes will bring the happiness in her life. As for
Rasus, he does not think that the tradition of ronggeng should be erased, but he also thinks
that the negative elements of it should be eliminated.
23
References :
Annas, P.J and Rosen, R.C. 1990. Literature and Society: An introduction to Fiction, Poetry,
Drama, Nonfiction. New York: Prentice-Hall Inc.
Darwin, Muhadjir & Tukiran. Drs. 2001. Menggugat Budaya Patriaki. PPK UGM & Ford
Foundation. Yogyakarta.
Flax, Jane. 1987. Postmodernism and GenderRelations in Feminist Theory. Within and
Without : Women, Gender and Theory. Vol 12. No. 4. Summer.
Handayani, T. Dra & Sugiarti. Dra. 2002. Konsep dan Tenik Peneletian Gender. Malang:
UMM Press.
Kartodirdjo, Sartono. 1987. Pengantar Sejarah Indonesia Baru. Jakarta: PT Gramedia
Pustaka Utama.
Kramarae, C., Treichler, P. A., & Balsamo, A. (1986). Feminist theory issue. Urbana, Ill:
Women and Language.
Kourany, J.A., Sterba, J.P., Tong, R. (Eds.). 1993. “Feminist Philosophies:
Theories, and Application. Hertfordshire : Harvester Wheatsheaf.
Problems,
Maria, L.A.F. Suzana. 2011. The Swaying of Oppression And Liberation Trough Srintil’s
Selendang in Tohari’s Trilogy Ronggeng Dukuh Paruk And The Dancer. Thesis.
SANATA DHARMA UNIVERSITY. YOGYAKARTA.
Purwadi. Dr. M.Hum. & Munarsih. Dra. M.Hum. 2005. Ilmu Kecantikan Putri Jawa.
Yogyakarta. Tunas Harapan.
Saadawi, N.E. 2001. Perempuan dalam Budaya Patriarkhi [ The Hidden Face of Eve].
Yogyakarta : Pustaka Belajar.
Surur, Miftahus. 2003. Perempuan Tayub Nasibmu di Sana Nasibmu di Sini in Srinthil
Media Perempuan Multikultural. Jakarta : Kajian Perempuan Desantara.
Tohari, Ahmad. 2003. The Dancer. Lontar Foundation.
Tohari, Ahmad. 1995. Jantera Bianglala. Jakarta: PT Gramedia Pustaka Utama.
Tohari, Ahmad. 1995. Lintang kemukus Dini Hari. Jakarta: PT Gramedia Pustaka Utama.
Tohari, Ahmad. 1995. Ronggeng Dukuh Paruk. Jakarta: PT Gramedia Pustaka Utama.
Yudiono, K. S. 2003. Ahmad Tohari: Karya dan Dunianya. Jakarta: PT Grasindo.
24
TRILOGI RONGGENG DUKUH PARUK
THESIS
Submitted in Partial Fulfillment
of the Requirements for the Degree of
SarjanaPendidikan
Jaqueline Rosarina P
112012705
ENGLISH DEPARTMENT
FACULTY OF LANGUAGE AND LITERATURE
SATYAWACANACHRISTIANUNIVERSITY
SALATIGA
2013
1
THE SOCIAL POSITION OF WOMEN AS REFLECTED IN AHMAD TOHARI’S
TRILOGI RONGGENG DUKUH PARUK
THESIS
Submitted in Partial Fulfillment
of the Requirements for the Degree of
SarjanaPendidikan
Jaqueline Rosarina P
112012705
ENGLISH DEPARTMENT
FACULTY OF LANGUAGE AND LITERATURE
SATYAWACANACHRISTIANUNIVERSITY
SALATIGA
2013
2
3
4
5
THE SOCIAL POSITION OF WOMEN AS REFLECTED IN AHMAD TOHARI’S
TRILOGI RONGGENG DUKUH PARUK
THESIS
Submitted in Partial Fulfillment
of the Requirements for the Degree of
SarjanaPendidikan
Jaqueline Rosarina P
112012705
ENGLISH DEPARTMENT
FACULTY OF LANGUAGE AND LITERATURE
SATYAWACANACHRISTIANUNIVERSITY
SALATIGA
2013
6
Introduction
The issue of gender rapidly spreads out and deserves serious attention of many
observers. It is based on the fact that the previous social analyses are likely to put the gender
discourse aside. Kramarae (1986), states that gender is division of men and women that is
caused by heterosexuals need that institutionalized male sex domination and female’s sex
obedient. Nowadays, not only female writer who expresses deep concern over the woman’s
problem but also male writer, one of them is Ahmad Tohari. Ahmad Tohari is an Indonesian
well-known writer who can picture the typical village scenery very well in his writing.
Ronggeng Dukuh Paruk which consists of Catatan Buat Emak, Lintang Kemukus Dini Hari
and Jentera Bianglala was considered as his masterpiece by literary critics(Ahmad Tohari:
Karya dan Dunianya, 2003a: v; Yudiono K.S., 2003: 53). Structurally, the novel narrates the
firmness of a woman in her effort of relieving herself from man domination in her village as
represented by Srintil, the main character of the novel. She is a caretaker of the spirit of her
predecessor’s belief that has to serve her body to satisfy the sexual need of the men
surrounding her. Her failure in reaching the image of housewife represented the loss of her
consciousness can be recognized as an absolute denial against man domination. On the
whole, the writer is interested to analyze the social position of some characters that represent
in it and the main character in the novel.
The primary objective of this study is to learn the social position of women through the
novel of Ronggeng Dukuh Paruk by Ahmad Tohari. The novel is portrayals of gender
problems caused by the local tradition. Moreover, this study will also analyze the major
characters appeared in the novel Ronggeng Dukuh Paruk. The aim is simple; to show the
readers the main problem of the social status of women through Tohari’s works Ronggeng
Dukuh Paruk.
7
This study of literature includes the depiction of fictional female character, Srintil. In
the patriarchal system, a system which contains views that men are more dominant than
women and sons or daughters in the family or society, Srintil is forced to ascribe the position
of ronggeng. She is in the traditional patriarchal system of her village recognized as “an
object” of men’s possession. Because of the assumption, men are encouraged to conduct
violence in many manifestations as pornography like rape and sexual harassment. Therefore,
the identity of women is reduced to merely biological sexual aspects by making use of their
bodies as the object of possession.
Up to this point, by using the approach of feminist
literary criticism, I see the social position of woman as a Ronggeng is the minor one.
The writer limits the study of the social position of a Srintil as a female protagonist
character related with Rasus and Marsusi as male characters and also Srintil related with Nyai
Kartaredja. The study will deal with women’s role in the society, in the family and her right
to freedom, represented by Srintil who lived in a male dominated society. In order to observe
the social position of women, the writer will explore Srintil’s struggles experiences to pursue
what she wants in her life.
As it is stated by Annas and Rosen (1990:1451) that “literature should move us in some
way, have an emotional effect on us, and that it should have everlasting value”, I expect that
this study will bring valuable idea for the readers realize the importance of women’s freedom.
By reading Ronggeng Dukuh Paruk, the writer hopes the readers realize that every woman
might not get the same chance to have their freedom. For that reason, it is better for women to
know how to apply their struggle physically and mentally against men, but it is more on how
we appreciate the existence of women as equal creatures with men. The writer hopes that
after reading the journal, the readers will gain insight into gender discrimination’s topic that
is expressed in literature. It is also hoped that the readers will be interested in carrying out a
8
further study of other similar topic. On the whole, the writer hopes that this study will have
everlasting value for the English Department of Satya Wacana Christian University.
Theoretical foundation
In Javanese culture, as explained by Mulder, women or mother is not allowed to place
their feet on the outside world as well as win the breads because they are assumed to be the
loveable beings who are obligated to teach and nurture their children. It means that she
(women) doesn’t need to take care of the problem outside the home. In effect, men and
women tend to face many clashes because they used to handle different obligations in
different ways. In Javanese society, women occupy a subordinate position. According to
Darwin and Tukiran (2001:7), there are many strict traditions such as secluded (dipingit) for
teenage girls. That concept is not strange since Javanese culture considers women as a
“kanca wingking”, a friend in the inner part of the house, which tasks are “olah-olah”
(cooking), “umbah-umbah” (washing clothes), “mengkurep mlumah lan momong bocah”
(satisfying men’s sexual desire and taking care of children) ( Purwadi and Munarsih,
2005:233). According to Darwin (2001:23) woman's position is as a man’s property.
Obedience, dependence and submission are an image of the Javanese women’s generosity.
Male dominances in many aspects of social life bring few theories toward man and
woman. One of the theories is Feminist Theory. The aim of Feminist Theory is to understand
the nature of gender inequality. It examines women’s social roles, experience, interest, and
feminist politics in a variety of fields, such as anthropology and sociology, communication,
psychoanalysis, economics, literary education and philosophy. Women’s oppression is
always changing over time and it also carries to another form of oppression. According to
Jane Flax (1987) the study of gender relations includes but is not limited to what are often but
it's considered the distinctively feminist issue: the situation of women and the analysis of
9
male dominance. When ronggeng accepts men’s offer to accompany and ronggeng starts
receive payment of it, this is how the nature of oppression begins. As men didn’t accept
rejection, they will force the ronggeng and if the ronggeng still did not want to accompany,
they will use any kind of way to get ronggeng that will brings to the other form of
oppression.
It is not denied that tayub as a local tradition still part of patriarchal ideology.
Ronggeng as a tayub’s dancer chains the local tradition with patriarchal culture. Ronggeng
works to entertain people in general and man in particular. As their job to satisfy what man’s
want, it makes man sees women not more than just an object. Moreover, ronggeng’s stages
still below man as they only use their body to earn money. That relationship between
ronggeng as a local tradition and men as a person who enjoys ronggeng gives good benefits
on both sides. Tayub attracts people to gather wherever it is. As people gather at some place,
the neighborhood will get busier and more alive. It gives good benefits as they see an
opportunity in it. When there is a ronggeng dances, there is another life begins. As a result of
patriarchal in society, women’s role which is created by men is only related to domestic
domain. This is how the tradition maintaining the patriarchal culture.
In Javanese society, marriage is also influenced by the patriarchal system, which
always creates women as subordinate (Kartodirdjo. 1987:192). Married women do not have
freedom because they do not have access to the men’s authority in giving status and name to
their children. Feminist criticism, Virginia Wolf, mentions that men will always view women
as the secondary which have lower class. She mentions that it is men who define what it
means to be women. Those roles above bring disadvantages to women.
10
Synopsis
The novel is basically about the life story of Srintil as a ronggeng dancer in a small
village named Dukuh Paruk. The people of Dukuh Paruk believe that ronggeng is not
something that can be taught; instead it is only the chosen one who can be a ronggeng. In
order to be the chosen one, a woman should do all the three requirements before she can be
officially called as a ronggeng. Firstly, she should perform in Dukuh Paruk before she visits
the grave of Ki Secamenggala as a pilgrim. Secondly, she has to take a ritual of bathing and
then perform before the cemetery of Ki Secamenggala. The last one, she has to do the sexual
ritual called “bukak klambu”, which means she is going to give her virginity to the man who
has already paid a sum of money. The people of Dukuh Paruk are not well educated, so it is
usual for them to speak in dirty languages, and they even do not think that marriage is sacred.
There is a man named Rasus who has been a friend of Srintil since they were kids. Srintil
becomes a famous and rich ronggeng dancer, and Rasus becomes a soldier in faraway places.
However, the good condition of Srintil as a ronggeng dancer doesn’t last very long. In 1964,
the political condition at that time forces people to be suffering. Many ronggeng dancers are
sent to prison because they are indicated of the communism. However, in the end of the story,
Rasus went home to see Srintil and to fight for his true love.
Discussion
Srintil is the main character in the novel. Basically, the story of her life can be divided
into three: a 11 year old Srintil (when she first became ronggeng), a 17 year old Srintil (when
she is a famous ronggeng), and a 23 years old Srintil (when she gets out of the prison). In the
first stage of her life story, when she’s 11 years old, Srintil has proven herself that she was
born as a ronggeng. It is supported by the fact when she played with Rasus and other kid, 11
years old Srintil is able to sing and dance like a ronggeng. Srintil decides to become a
11
ronggeng by the society of Dukuh Paruk. As a matter of fact, Sakarya and kartareja decide
Srintil to become a ronggeng without asking Srintil whether she accepts it or not. However,
Srintil at first accepts the job gladly, because she gets more attention in the society. Besides,
many people serve her by washing her clothes, giving her food, and receiving many
compliments. She is surrounded by people Dukuh Paruk who admire her as a ronggeng.
Furthermore, many women in Dukuh Paruk want to dance tayub with Srintil because she is
like a queen. At the beginning, Tayub birth for the sake of fertility of the crops. Tayub was
believed to have magic powers and influences on the ceremony. Tayub, thus, become the
central force as equal slametan or even shalat tahajud (pray) for the santri (Surur, 2003:10).
From that point, it can be concluded that the profession of ronggeng in Dukuh Paruk is an
honorable profession. Moreover, people in Dukuh Paruk intend to preserve the culture. Thus,
Srintil is very glad to be a ronggeng in the society. In addition, her profession as a ronggeng
makes her more honorable in the society and in her village especially.
Before officially becoming a ronggeng, Srintil has to do the ceremony of bukak
klambu. This ceremony of bukak klambu is part of the ritual ceremony in Dukuh Paruk.it is
like a men’s competition to exploit the virginity of a ronggeng-to-be. It symbolizes the unity
of the ronggeng and Ki Secamenggala. Therefore, men who can open ronggeng’s klambu are
a chosen man. In this ceremony, there is a prostitution element which hides in the culture.
However, it is not wrong in the society, that prostitution is the phenomenon in the ceremony.
Indeed, a woman will never be a ronggeng without doing this ritual of bukak klambu. Women
who want to be a ronggeng are forced to do this ritual by the men if they really want to be a
ronggeng.
Srintil actually does not know the real meaning of bukak klambu. Her belief that it’s
part of the myth and local tradition rule. It is obviously seen by Srintil’s perspective who see
that bukak klambu is a must thing to do for a ronggeng-to-be. She is convinced by the words
12
of Nyai Kartareja who offered her gold after she does the ritual of bukak klambu. Therefore,
the 11 years old Srintil considers that the ritual is a common thing, and it is a ritual that a
ronggeng should participate if they want to be a ronggeng. In order to be able to participate in
the ritual, a man has to pay some amount of gold. For those who do not fit the criteria, he
cannot participate in the ritual ceremony of bukak klambu. On the other hand, for those who
are able to pay the gold, he can participate in the ritual by signing in Dukuh Paruk and paying
the gold to Kertareja. Dower is successful participating in the ritual ceremony. He comes to
Kertareja and gives him a big cow and money. Dower, as a matter of fact, stole them from his
parents. The other man who comes to kertareja is Sulam. He comes to Kertareja and gives
him the gold as the terms. Cunningly, Kertareja accepts two men because he thinks he is
going to have big profit from this. Money from Sulam will be given to Srintil, while the cow
from Dower will be kept for himself. In here Srintil already break the tradition and against
the rule of what the tradition should be. She tricks not only Sulam and Dower who already
pay for what they want for but also Nyai Kartareja for she thinks that Srintil will service both
of them. By the end, Srintil gives her virginity to Rasus without asking permission to Nyai
Kartareja. In Previous study of Suzana Maria (2011) stated that this particular fragment is
used to strike at the patriarchal value about virginity that is being contested. She also said,
“The patriarchal system tends to place women as object and adornment for men is unfair and
sometimes unreasonable.”.
From the night of the ceremony bukak klambu, ronggeng is not only a traditional art,
yet is becoming prostitution. The position of ronggeng is as the object of men lust. Women,
on its position, no more than a good that can be sold. Therefore, the sex exploitation that
happens in the life of a ronggeng makes positions of women in the society becomes very low,
and in fact lowers than men. Women in ronggeng are matter only because they are part of the
entertainment of men. From the point Srintil becomes officially a ronggeng in Dukuh Paruk
13
by participating the ritual ceremony, her fame is all over Kecamatan Dawuan, Srintil’s
activity always become the rumor that people always talk to. In a short time, Srintil has
become a famous and rich ronggeng in Dukuh Paruk. She has jewelries that most of the
women in Dukuh paruk do not have. To Srintil, attention that people give to her, including
temptation from the men who adore her is a symbol of fame that she can get from being a
ronggeng in Dukuh Paruk. As a symbol of fame, it makes Srintil has a role in society but, her
actual role is made from a domination of a man power in public. Therefore, Srintil is really
proud of being a famous and rich ronggeng. As a matter of fact, men can fight to each other
in order to get a night or two with Srintil. The demand of herself to perform and entertain is
getting higher and higher as she becomes more professional each day. Srintil believes that her
profession as ronggeng in Dukuh Paruk is an honorable job. However, when she is 17 years
old, she has a different point of view in looking her life as ronggeng in Dukuh Paruk. It starts
when Srintil meets Rasus, her childhood friend. She is in love with him and deep down in her
heart, she wants to marry Rasus. Whenever Srintil sleeps with the other men, she always gets
money, yet when she sleeps with Rasus, she never asks money to him.
However, when Srintil asks Rasus to marry her, surprisingly, Rasus refuses her
proposal. Although the tradition said that ronggeng is forbidden to have bound or relationship
with a man, it just don’t make Srintil Forget about Rasus. Rasus does not want to spoil the
tradition of Dukuh Paruk by marrying Srintil. Rasus thinks that the sexual relationship
between Rasus and Srintil is considered as a common thing that a ronggeng should do. The
existence of ronggeng in Dukuh Paruk is the part of village’s history. Dukuh Paruk is not
“Dukuh Paruk” unless it has ronggeng dancer. Therefore, it is not surprising that the people
in Dukuh Paruk are excited when they elected someone a ronggeng dancer, and it happens as
Srintil is the chosen person. As a matter of fact, a person in Dukuh Paruk welcomed Srintil in
many ways, for example people wash Srintil clothes, baths Srintil and provides her daily
14
needs. In fact, people compete to serve Srintil at their best. Furthermore, the wives will be
proud if their husbands had chances to sleep with Srintil. To the people in Dukuh Paruk, it is
not a sin, because it is part of the culture that Dukuh Paruk has maintained for ages. Srintil,
as a matter of fact, is a ronggeng that should be the property of all men in Dukuh Paruk. The
good thing about being the chosen one with all the fame and fancy things means nothing.
Srintil is choosen to be a ronggeng, not a queen, a ronggeng who is willing to sleep with few
men in order to get paid. Stay up late in order to satisfy men are regular activities for Srintil.
She did a lot of things for Dukuh Paruk. Her devotion to Dukuh Paruk means nothing, she
might be served by people in Dukuh Paruk but, she lost her childhood, she lost her love even
she lost her virginity in order to follow the tradition. Her presence in Dukuh Paruk is no
more than just an object. She has no choice because she is the chosen. Those entire things
make Rasus feels nothing special about his relationship with Srintil. By society and all men in
Dukuh Paruk, Srintil has been just an entertainment and object of lust that could be used
anytime they want.
When Rasus declines Srintil’s proposal, it makes her thinks about the new thought.
Srintil does not accept the fact that she was rejected by Rasus makes her protest by his own
way. Rasus is very nationalist; he loves where he came from and belongs. Moreover, he also
appreciates every single thing about Dukuh Paruk. That is why he refuses Srintil’s proposal.
So far, Srintil assumes that all men would be glad to be beside her, and the men will do
anything to be with her. However, Rasus declining of Srintil’s proposal makes her heart
broken. Her honor as ronggeng suddenly falls apart when Rasus say this:
“It’s impossible for me to marry you. You belong to Dukuh Paruk.” (Tohari
1995:90).
15
Rasus honestly speaking in front of Srintil that nobody can’t own Srintil, even Rasus, the love
of her life. Srintil is no longer a “person”, she is a ronggeng of Dukuh Paruk. She is Dukuh
Paruk’s property and Rasus understand about that. That’s why Rasus refuses Srintil’s
proposal.
The manners and rules of that only man who can propose is being broken by Srintil
as she asked Rasus to marry her. The condition is upside down with the situation and the
culture by that time in which only a man who is allowed to propose woman. Therefore,
Rasus’ rejection of Srintil’s proposal is quite normal, as Rasus only sees Srintil as the woman
who fulfills his sexual need. This decision becomes a major factor in the growth of Srintil
personality. She becomes brave and tough to break the rule of ronggeng policy. Dukuh Paruk
shows its power over Srintil by positioning Srintil as Dukuh Paruk’s property. Dukuh Paruk’s
been given many things for Srintil. However, Dukuh Paruk also limits and set boundaries to
Srintil. As a matter of fact, Srintil’s life in Dukuh Paruk is being controlled by culture and
society in Dukuh Paruk. This is incomparable with the regular life with any common women
in Dukuh Paruk. Despite her fame, she is still Dukuh Paruk’ possession and always placed as
the secondary.
The fact that Rasus refuses Srintil’s marriage proposal makes her upset. Rasus is
strongly disagree with the myth, ceremony and rules by his own local tradition that he thinks
as a stupidity by the local people. He no longer sees Srintil as his mother figure because
Srintil already become a ronggeng. The image of women from that time makes a woman
have to be as ordinary as they can. Feels not fit and comfortable with the tradition, Rasus
decided to leave Dukuh Paruk to have another experience of life as can be seen from this
quotation :
16
“My steps were firm and sure. I, Rasus, had finally found myself. I was
leaving Paruk Village, all of its inhabitants and their values.” (The Dancer,
111)
By Rasus decision, Srintil thinks every moment that she has passed as ronggeng
dancer just useless. First, Srintil is willing to become a ronggeng dancer because it looks
charming. But she realizes that becoming ronggeng dancer is not as good as she thought
before. As a matter of fact, the world of ronggeng gives Srintil the identity as a prostitute. In
Encyclopedia Brittanica (1961) there is a definition about a prostitute, which is a woman who
provides or shows her body to rent for sexually. As it is said by Nawal El Saadawi, women
are objects used for commercial exploitation, working without wages at home and fields,
having waged works outside the house, and working for free inside the house. They have to
bear children for the sake of the society reproduction. They also become sexual objects to
satisfy men’s desire and lust (Saadawi, 2001:171).
In the village’s tradition, the role of ronggeng dancer is not only to dance, but also to
“serve” men. Moreover, a man who had a chance to sleep with a ronggeng is considered as
the “real gentleman” in their eyes. In other words, ronggeng is created in order to serve men’s
lust. On the contrary, a ronggeng is considered as a “servant” who fulfills men needs in a
sexual way, in spite of the fact that the existence of ronggeng is really important in the Dukuh
Paruks culture. In addition, husband and wife will not have a quarrel if someday the wife
knows that her husband sleep with ronggeng dancer in Dukuh Paruk. The sensation of
ronggeng’s dance can be found from ronggeng’s erotic body language that refers to the
fetish, which is the object that is adored because, its power of charm. When the ronggeng
dances in tayub, men can show their “man-ness” by dancing along with the ronggeng in the
stage. There has been an appeal that men should not conceive of woman as sex objects. But
this statement has been interpreted inappropriately. Kourany, Sterba, Tong (1993) as cited in
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Handayani (2002) argue that one plausible, but inappropriate, interpretation of “men ought
not to conceive of women as sex objects” is that men ought not to conceive of women
exclusively as sexual partners. Handayani (2002) also added this interpretation loses it
reversionary impact, since even a male chauvinist could accept the interpretation without
changing his conceptual structure in any way: which is only to say that men do not usually
identify or conceive of woman as a sexual partner. The body of ronggeng that is supposed to
be a private one, no longer remains private, instead the people of Dukuh Paruk own the
ronggeng’s body. As a ronggeng in Dukuh Paruk, Srintil burden the responsibility for the
sexual needs and economic needs of the people of Dukuh Paruk as people in Dukuh Paruk
always put harmony and togetherness in the first place. Basically, kinship and mutual aid
become their major principal. All people in Dukuh Paruk born with that burden.
Gold is one standard that people should have to live in fancy life, but not for Srintil as
she refuses Marsusi proposal. Marsusi thinks if he brings jewelries along with his coming to
see Srintil, Srintil will open up her arm to serve Marsusi. Marsusi knows that Srintil and Nyai
Kartareja love jewelries. Who doesn’t anyway, all women must be likes jewelries but, not
this time for Srintil. All the jewelry that he offered to Srintil means nothing in front of her.
Marsusi is a foreman of a plantation, with his wealth, he may give Srintil everything that she
asks if Srintil is able to go with him or maybe accompany him for two or three days. Man
absolute power is pretty dominant as Marsusi didn’t accept rejection. This absolution brings
many points of view toward women and of course patriarchy culture control social behavior
of people in Dukuh Paruk.
Yet, Srintil has been tough enough to refuse Marsusi proposal. She settled down in
her decision to not serve man any longer. She is not afraid with Marsusi or Nyai Kartareja as
it is cited from the novel,
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“Because his (Marsusi) finger was pointing directly at her, Srintil looked up.
While Mr. and Mrs. Kartareja looked frightened, Srintil showed virtually no
emotion at all. As her eyes calmly met his, he lowered his hand.” ( The
Dancer, 161)
Not only making such kind of gestures. She also has gut to refuse Marsusi proposal as said
““Whatever you might say, sir, it is a simple matter. You want to buy
something here but the shop is closed. It’s as simple as that, sir.” (The Dancer,
162)
In the end, only anger and swore words that came out of Marsusi mouth.
This condition is very contrary to the idea of women should act toward men. Srintil
bravely broken down the tradition of what ronggeng should behave as she refuses to serve
Marsusi. Meanwhile woman in that era is being put below man in any part of social life. As
Srintil becomes famous ronggeng, it doesn’t mean she became number one in every position.
She still is putted down below. Marsusi won’t be angry to Nyai Kartareja or Tampi. He won’t
be angry with any women in Dukuh Paruk. He is only angry to Srintil. Srintil as a ronggeng
and reject Marsusi seems ridiculous for Marsusi as people like Marsusi who wants to meet
Srintil and being accompanied by Srintil see Srintil not better than just a lady’s companion.
Srintil always putted as a secondary and she starts to fight to get her position as a normal
human being back. Srintil didn’t mean to be known as super woman yet only a ronggeng
who already feel sick of her previous life as a ronggeng who serves man’s lust.
Nyai Kertareja is the second woman that will be discussed in this paper. She is
described as the shaman woman in Dukuh Paruk, and is more than 50 years old. She used to
be a ronggeng in her youth like Srintil. The difference between Srintil and Nyai Kertareja is
only the popularity as a ronggeng in Dukuh Paruk, as for Srintil she is quite a famous
ronggeng, while Nyai Kertareja was not a famous one. In fact, she changed her career as a
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Shaman in Dukuh Paruk with her husband Kertareja. Her role is only to be a “parent” for the
chosen woman who soon will be a ronggeng in Dukuh Paruk. She teaches her knowledge as a
ronggeng to a woman who is elected ronggeng in Dukuh Paruk. She teaches the way
ronggeng should dress, behave and serve men. The function of shaman is quite obvious when
Srintil become a ronggeng in Dukuh Paruk. She is the woman who arranges all Srintil
schedules, from dancing to serve men. In fact, she also decides how much men should pay for
sleeping with Srintil in Dukuh Paruk. She makes Srintil like her pet by deciding many things
for Srintil, for example when in the night Srintil is supposed to dance and in the day light she
is supposed to serve men who is willing to sleep with her. A man who wants to sleep with
Srintil has to ask Nyai Kertareja’s permission first before he could sleep with Srintil. Up to
this point, Nyai Kartareja dominances are very clear. She might be only stand beside Srintil
as Srintil become the star of every performance but, Nyai Kartareja has power over Srintil.
Nyai kartaredja has higher position also as Srintil always obey her.
Her existence as a “parent” who teaches good points about manners and live properly
is being dubbed for she always take advantage of her “daughter”. Her dominance is quite
obvious when Srintil falls in love with Rasus. She could not, in any reason, give her
permission to fall in love with a man. She gives Srintil reason that as a ronggeng in Dukuh
Paruk, Srintil has to obey the rules as a ronggeng dancer. However, the real reason Nyai
kertareja does not give Srintil to fall in love is simply because she is afraid if Srintil marries a
man and Nyai Kertareja will not get any profit anymore from Srintil. It is definitely seen that
Srintil is being oppressed not only by man but also a woman. The patriarchal culture gives
super impact for Srintil. She is not only receives bad treatment by man but also by woman.
Nyai Kertareja even entices Srintil the wealth as can be seen from this quotation:
“My young beauty,” said Mrs. Kartareja. Her hand stroked Srintil’s shoulder.
“It’s not good to refuse someone’s helping hand especially Mr. Marsusi. You
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haven’t asked him where he wants to take you. You don't even know what
kind of gift he wants to give you this time.” (The Dancer, 157).
It is not common for ronggeng to refuse man’s big offer. However, up to this point Srintil
starts to refuse Nyai Kartaredja.
In no time, Srintil becomes a rich person, as well as Nyai Kertareja. People in Dukuh
Paruk eat gaplek as their daily food, yet Srintil and Nyai Kertareja’s family eats rice, and it
proves that their wealth is above the average of people in Dukuh Paruk. However, one day
Srintil refuses to follow what Nyai Kartareja asked. She does not want to serve Marsusi
sexually, even though Marsusi offers Nyai Kertareja an expensive diamond necklace if he
could have a sexual relationship with Srintil. As a result, Nyai Kertareja scolds Srintil and
swears so many rude words as can be seen from this quotation:
“So this is the way you repay our kindness? We provided you with the means
to be prosperous, but this is what we get in return; completely humiliated by
Mr. Marsusi. You, offspring of Santayib, you’re nothing!
“And yet you have the nerve to reject a hundred-gram gold necklace? Do you
think you’re rich? If you didn’t like the necklace you should have taken it for
me! You should service Mr. Marsusi anyway because everyone knows you’re
ronggeng and whore” (The Dancer, 162-163).
This condition makes the relationship between Srintil and Nyai Kertareja is broken.
The dominant position of Nyai Kertareja fades when Srintil is asked to dance in Dawuan for
the Indonesian Independence Day program. Nyai Kertareja even calls Srintil as “sampeyan”
which is so humane, not like she did to Srintil before. However, it should be italized that she
also teaches Srintil to become ronggeng which considered as an honorable profession.
Somehow, she also teaches Srintil to be professional during her works and protects her from
any unexpected things.
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Conclusion
In addition, according to the novel, ronggeng that contains of prostitution is not
something that people feels so dirty, instead people respects the profession as a ronggeng
dancer. It is the fact because people in Dukuh Paruk see ronggeng dance as the heritage of
their ancestors.
The story of the novel basically contains the violations of the values of humanism
from the social condition of Indonesia in 70’s. Gender unfairness appears when people do not
see the others as the same creation before God. The discrimination happens among people in
Dukuh Paruk, for example the discrimination between men and women. In the end, the
victims will be the women, because they are supposed to be lower status than men even
though woman have a double burden as they not only work outside the house but also take
care of domestic things. This fact can be proved by the traditional culture called ronggeng
dance. Men have been using women to preserve the local tradition, the ronggeng dance, and
making prostitution out of it. The social condition of the ronggeng dancer is usually not far
from the world of alcohol, which in the novel is described as ciu or tuak, the traditional
alcohol drinking.
Furthermore, there is a searching for authentic values of the degraded world. The
searching of the authentic values is done by at least two characters, Srintil and Rasus. These
two characters can be concluded as the hero, since they are searching the authentic values in
their life. Moreover, the two characters have relationships with the other characters in the
novel and they create the problems that can be found in the story.
From the analysis given it can be concluded that the novel is not merely the
imaginative creation of the writer, instead it had a close relationship with the social condition
at the time, which is around 70s. The discussion about women social condition based on the
characters that can be found from the novel: Srintil, Rasus, Marsusi and Nyai Kartareja.
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However, since Srintil is the main character of the novel, the main discussion is about her and
her conditions in relation with the world of ronggeng. Ronggeng, as a matter of fact, can be
concluded as the act of prostitution hiding in the name of the traditional culture called
ronggeng. Srintil is struggling for running from the ronggeng world, and on the other hand
the tradition is so powerful that she can barely run from it. This traditional culture is not only
supported by the men, but also the women in Dukuh Paruk. The tradition of ronggeng that is
inherited by Srintil does not make her happy, instead make her miserable. Therefore, she is
searching the authentic values that she believes will bring the happiness in her life. As for
Rasus, he does not think that the tradition of ronggeng should be erased, but he also thinks
that the negative elements of it should be eliminated.
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