Transcript 9.00am-Morgan-Cerita-9-Jul-2011

Cerita
How do we tell our stories?
Anne-Marie Morgan
UniSA
AFMLTA Conference: Darwin 9 July 2011
Abstract
• Powerful means of exploring language use is
considering how stories are told, and using
storytelling in language learning classrooms
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‘traditionally’ and contemporarily
through recognised ‘literature’
through other art forms (e.g. performance, visual arts)
through more everyday or alternative communication
means/texts
• diaries and letters
• email, text messages, facebook and twitter
• in other ways...
Overview
• This presentation
– opens a discussion on the place/value of storytelling in language
learning and ways of approaching story use
• Considering
– ways of telling stories in Indonesian
– meanings and understandings about Indonesia and Indonesians
learners in Australian schools might take from stories
• ‘traditional’ to contemporary story telling forms
• modern communication modes
• work of artists: poet and playwright Rendra; poet Nganthi Fitri Wani
• Invitation to teachers
– to consider storytelling in their language classrooms
• to engage with a range of ‘authentic’ texts and language use
• to encourage learners to tell their own stories in meaningful ways
• to consider how Australian stories might be understood by young Indonesians
Abstract/Overview
• Underpinning ideas
– approached from intercultural orientation to teaching and
learning
• linking language, culture and learning
• focus on meaning-making for individuals
• constantly working across and between learners’ available languages and
cultural reference systems
• encouraging an interactive, reflexive, decentred stance
• learners engage with others’ ideas and interpret them through their own
experiences
– some exemplification from Dari Kami ke Kita textbook series
• Chapter 7, Book 2: Cerita
– aimed at (around) Year 10 level learners with 3-4 years language
learning experience
– adaptable to learners at other year levels, in other contexts
Telling stories
• Why do we tell stories?
– to share understandings, history and experiences, as major
means of communication
– to educate, illustrate, preserve cultures, instil moral values
– to give pleasure to audiences (and tellers)
– to make sense of and reflect or challenge our world/world views
– to engage critically with the world (and with language)
– integral to all cultures and peoples (as far as we know...)
– other reasons...
• How do we tell stories?
– in ways that are unique to one’s culture, using language in ways
that are meaningful to other users of the language/located in the
same culture/cultural reference frame
– range of modes: oral, with/without gestures, as paintings or
other artefacts, in writing- print books, electronic media, etc
– most (all?) forms use language
Telling stories
• What do stories mean to us?
– stories are interpreted through our own ‘lens/lenses’ of experience
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cultural and language (s) background
age, gender
rural/urban, other locational contexts (climate, population density...)
spiritual/religious beliefs and background
literacy skills
influence of family and friends
education
access to media
texts with which we have engaged throughout our lives
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– provide us with a critical awareness/interpretation tool
– awareness of variability of interpretation and diverse interests
crucial to pedagogical decisions
Storytelling in Indonesia
• Rich heritage of storytelling
– across and between the many cultural groups
– records of storytelling for 1000s of years
• oral and written forms
– in private and public spheres, secular and religious
contexts, at all strata of society
• folk tales, poetry, dance and drama, puppet
plays, novels, short stories, drawings and
paintings, court documents, etc to recent forms
of e-storytelling, television, film, music clips
– vast quantity and range of stories and experiences
to ‘mine’ for language learning purposes
Storytelling in Indonesia
• ‘Traditional’ storytelling
– ‘Traditional performance is what people
everywhere do every day. It is not something that
belongs in the past, but is the lived experience of
what people do now’ (Peter Sellars, Theatre Director)
– What point is being made here about divides of
‘traditional’ and ‘modern’, ‘old’ and ‘new’, etc?
– Does ‘traditional’ imply that it is no longer active,
or that is has a long history of performance? Who
is given the right to create ‘traditional’ stories? At
what point do ‘new’ stories become ‘traditional’?
– Consider how you address these points with
learners, and continue to problematise ‘tradition’
Storytelling in Indonesia
• ‘Traditional’ storytelling
– Wayang forms
• purwa, kulit, orang, klitik, topeng, golek, dll
– Significant and enduring repertoire of stories
• Mahabharata, Ramayana
• regional stories/folk tales
• historical stories (e.g. wayang merdeka, wayang Jepang)
– Role of gamelan in all wayang forms
• is music a form of storytelling?
– Live performances, TV shows, DVDs, comic and
picture books- enduring, re-imagined traditions...
– But what is ‘keren’ for young people?
Storytelling in Indonesia
• ‘Modern’ storytelling
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novels, poetry, short stories, magazines, newspapers, etc
advertising
television, DVDs and film
‘youth culture’ text types
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cartoons, comics, magazines (old media)
song lyrics, texting, blogs (lots of these)
Facebook (huge in Indonesia, as elsewhere)
interactive websites and games (200 million 5-19 year olds with internet access
worldwide; mostly on latest generation HPs)
• YouTube, Play Station
• new forms...
– recent studies show most youth communication outside formal
education, peer based (Carrington 2010)
– implications for ‘new’ language in these new storytelling contexts,
and for considering what is of interest to young people
Indonesian youth ready for social media
JAKARTA: Social media use is set for very fast growth among a new generation
of patriotic yet pluralistic Indonesian teens, TNS studies have indicated.
According to the research firm, young Indonesians are not yet heavy users of
social networks, despite the fact that Indonesia is the world's second-largest
Facebook market and third-largest Twitter market in terms of reach.
Although 87% of Indonesia's online population have visited social media
websites, just 14% use them on a daily basis - against a global average of 46%.
This relatively low engagement is partly due to a lack of access to quick fixedline web connections. Instead, many Indonesian users have to access the sites
via the "cluttered" operating systems of older smartphones.
But TNS suggested that this will change as new low-cost Android-powered
smartphones reach the market.
Data sourced from TNS; additional content by Warc staff, 21 June 2011, viewed 29 June 2011,
http://www.warc.com/LatestNews/News/Indonesian_youth_ready_for_social_media.news?ID=28441
Youth poetry: Wani
Fitri Nganthi Wani (Wani)
• Young Indonesian poet, from Solo, popular with youth audiences
(live/Internet readings)
• Currently a university student in Yogyakarta
• Author of Selepas bapakku hilang (After my father disappeared)
• Began writing poetry at the age of 8
• Deeply traumatised by disappearance of her father, a poet and activist
• Poems deal with issues of social injustice, poverty, prejudice and
violence, and personal feelings as a young Indonesian
• Record of a school aged girl's thoughts and experiences of growing up
in a contemporary urban Indonesia
• Issues she addresses resonate with many students in Australia
Wani in performance
http://ladangkata.com/2009/06/17/inspirasi-perih-fitri-nganthi-wani/
mbak.. salam kenal..
saya datang dari blog tetangga..:)
awalnya, saya tertarik dengan judul postingnya..dan tentu dengan
Wiji Thukulnya.. dan nama Patjar Merah, eh.. Fajar Merah
maksudnya..:)
hm, jadi pingin baca puisi2nya Wani..
trims..
salam,
hesra´s last blog post..Untuk *CMJ
Hai, Hesra…salam kenal balik
duh..duh..jauh-jauh dari tetangga, cuma disuguhin sepetak ladang di
sini. Soal Wiji Thukul, bagi saya yang menarik nilai perlawananannya
dan Wani mewarisi bibit itu dalam ranahnya sendiri. Seperti yang
saya tulis di atas, Wani menggunakan bahasa yang liat namun
sederhana.
Mudah-mudahan dalam waktu dekat dah dapat bukunya yaaaaaaa…
hesra | Jun 17, 2009 | Reply
http://ladangkata.com/2009/06/17/inspirasi-perih-fitri-nganthi-wani/
Wani’s poetry
• See handout
• See associated tasks
• Comments and suggestions?
Alternative stories: Rendra
Rendra
Who is he?
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Born 1935, Solo, Central Java
Died 2009, Depok, West Java
Background: Catholic aristocratic family
Educated
– Universitas Gajah Mada (Yogyakarta)
– American Academy of Dramatic Arts (New York)
– New York University (New York)
• Father of 11 children
• Husband of three wives (at one stage simultaneously)
• Key intellectual, artist, philosopher, political-social activist of
20th century Indonesia
Rendra
Why is he famous?
• Saw himself primarily as a poet
• Remembered as daring, passionate and flamboyant
humanitarian and political activist
• Challenged political and social status quo in Sukarno, Suharto
and post-New Order eras (i.e. all of Indonesia’s national history)
• Wrote and performed (often controversial) poetry, drama that
attracted enormous popular following and critical acclaim
Rendra
• ‘Father’ of modern Indonesian drama
– experimental, residential theatre company- Bengkel Teater (Theatre
Workshop)
– explored intercultural forms and crossed conventional boundaries
– attracted a mass audience to modern drama
– influenced international theatre trends
• High public profile
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charismatic performer of poetry, theatre, public speaking (Burung Merak)
highly publicised conversion to Islam
imprisoned as ‘dissident’ for ‘anti-government sentiment’
mixed with influential intelligentsia, attracted media attention
successfully bridged Indonesian/Western cultural hybrid, fiercely patriotic
• No longer ‘modern’, but consider relevance to contemporary youth in
Indonesia
Rendra
As poet
• Perhaps best known in this role
• Javanese tradition of performance poetry: Rendra a master; still
a form that has appeal in contemporary Indonesia (cf. Wani)
• Wrote poetry from early school years: prize winning, published
by end of high school
• Early poetry: Javanese Catholic influence: exalting the wonders
of God’s world
• Courtship poetry: highly romantic
• Disillusionment poetry: chilling
• Protest poetry: emboldening
• Islamic poetry: humbling
Episode
We were sitting
On a bench on front of her house
There was a tree
Heavy with fruit
And we watched it, happy.
The passing wind played
With the falling leaves.
Then she asked, suddenly:
‘Why is your shirt button
Open?’
I only laughed.
So she gently pinned it
Shut.
And I
Pulled off
The fallen petals littered
In her hair.
Kami duduk berdua
di bangku halaman rumahnya.
Pohon jambu di halaman itu
berbuah dengan lebatnya
Dan kami senang memandangnya.
Angin yang lewat
memainkan daun yang berguguran.
Tiba-tiba ia bertanya:
‘Mengapa sebuah kancing bajumu
lepas terbuka?’
Aku hanya tertawa.
Lalu ia sematkan dengan mesra
sebuah peniti menutup bajuku.
Sementara itu
aku bersihkan
Guguran bunga jambu
Yang mengotori rambutnya.
Waktu (Time)
Like a bird with no nest, time
Flaps through unmourned days,
Fluttering its marvellous, magic wings.
Like drops of water,
The song, the tears, of a gently breeze,
Time shuts its eyes and patters pleasantly onAnd like a knowing guide
Shows life and death which way to go.
Waktu seperti burung tanpa hinggapan
melewat hari-hari rubiuh tanpa ratapan
sayap-sayap mujizat terbekar dengan cekatan.
Waktu seperti butir-butir air
dengan nyanyi dan tangis angin silir
berpejam mata dan pelesir tanpa akhir.
Dan waktu juga seperti pawang tua
menunjuk arah cinta dan arah keranda.
Rendra as playwright
Chorus of Machines: Kisah Perjuangan Suka Naga (The
Struggle of the Naga Tribe)
Boom! Boom! Boom!
Jas-jis-jos.
Machines moving go gedebook.
People moving. Panting.
Ketipak. Ketipak. Ketipung.
The warehouses overflow.
We’ve got nowhere to store our goods.
Bum. Bum. Bum.
Jas-jis-jos.
Gerak mesin bergedebum.
Gerak orang hongos-hongos.
Ketipak. Ketipak. Ketipung.
Gudang penuh jadi luber.
Hasil kami tak tertampung.
Chorus of Machines: Kisah Perjuangan Suka Naga (The
Struggle of the Naga Tribe)
Sah-soh-sah.
Ketoprak gebyar gebya.
We sell our products cheaply.
We must have a huge market.
Working fast in a big market.
Cheap goods can be sent far and wide.
Profit increases capital
Capital increases profit.
More money means more schemes,
We can’t be held up,
we can’t be interrupted.
Sah-soh-sah.
Ketoprak-gebyar-gebyar.
Hasil kami harga murah.
Kami butuh pasar lebar.
Kerja cepat pasar lebar
Barang murah jauh perginya.
Untung nambah modal
Modal nambah untung.
Tambah uang tambah akal
Jangan macet, jangan tanggung.
Why study Rendra?
• Significance of political/socially influential people in shaping
modern Indonesia
– Who are they? What are they like? What interested them? What
mattered to them?
– What did they do and why? Who was affected?
• History of a life, as well as of Indonesia as nation, and
Indonesian as a language
• Engaging with lives of real Indonesians and real issues
• Complex and varied themes and concepts available for
exploration
– class, poverty and wealth, power and corruption, daily living, religion
and spirituality, postcolonial world, history and change, cultural
diversity, etc
Why study Rendra?
• Champion of Indonesian (language) as the mouthpiece and
cultural signifier of Indonesia
– role of Indonesian in representing Indonesian culture(s)
– changes in Indonesian
– influence of other local languages
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Cross and inter cultural connections/comparisons
As a case study of a post-colonialist
For his beautiful, powerful and challenging poetry
For his hilarious and witty plays
For his connections with Australia and Australians
As a storyteller...
Pedagogical possibilities
• Use of poetry and plays
– Text analysis: imagery, form and structure, themes, issues, poetic
devices, etc
– Critical literacy: purpose, audience, language choices, impact, etc
– Consider language in culture and culture in language
– For pleasure or shock value/confrontation
– To build vocabulary and idiomatic language use and understanding
– To consider complexities of translation
– As models for original, creative writing and engaging storytelling
• Comparison of storytelling/performance forms and traditions in
Indonesia and Australia or elsewhere
Pedagogical possibilities
• Life study
• Consider Rendra’s life and works as historical metaphor for
Indonesia- map history against his works and what he said
and did and how he said and did it
• As way in to addressing range of themes, concepts
• To consider how Indonesians see themselves within
Indonesia, and in relation to the rest of the world
• To explore Australian-Indonesian connections and
comparisons with Australian poets, or the learners’ own lives
and experiences
• Suggestions?
…penyair dari kehidupan sehari-hari,
Orang yang bermula dari kata
Kata yang bermula dari
Kehidupan, pikir dan rasa
I’m a poet of small, ordinary things,
I began with words,
And words begin
With life, and thought and feeling
From ‘Surat Cinta’. Translation H. Aveling
Resource suggestions: Rendra
– Burung Merak: Poetica ABC
http://www.abc.net.au/rn/poetica/stories/2010/2928737.htm
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Inside Indonesia special edition (why not subscribe?)
Books of poems in bi-lingual editions
Plays in bi-lingual editions
Websites:
– http://en.wikipedia.org/wiki/Willibrordus_S._Rendra
– http://www.wotcrossculture.com.au
– http://azlyrahman-illuminations.blogspot.com/2008/06/re-readingws-rendras-perjuangan-suku.html
– http://www.facebook.com/pages/WSRendra/49487663377?v=photos&so=45
Discussion and questions
• How might you use this material/these ideas in your language
classroom?
• Invitation to teachers
– to consider storytelling in their language classrooms
• to engage with a range of ‘authentic’ texts and language use
• to encourage learners to tell their own stories in meaningful ways
• to consider how Australian stories might be understood by young Indonesians
• Thoughts and comments?
Terima kasih banyak
[email protected]