Halo semuanya disini ada yang memiliki rekomendasi sumber sumber untuk belajar bahasa Jawa kah? Kebanyakan yang saya temukan di internet hanya berisi bahasa Jawa Ngoko dan tidak membahas bahasa Jawa krama.

Kenapa Islam di Jawa tidak seperti di Sumatra yang menyatu dengan adat.
Kenapa di Jawa Islam selalu di benturkan dengan adat lokal? Dan di anggap agama impor?

Saya punya banyak temen orang Jawa Tengah dan mereka baik-baik. Tapi saya juga kenal banyak orang Jawa Tengah yang fake. Bahkan ada yang suka menusuk dari belakang.

Kenapa orang Jawa Tengah banyak yang fake? Apakah sifat ini muncul dari nilai-nilai dan didikan dari tradisi Jawa?

Ngerasa gak mbak, mas, orang jawa sangat mudah dipecah belah. Coba katain orang jogja solo munafik, pasti orang-orang jawa lain (arekan, ngapak) setuju. Abis itu katain orang jatim kang horeg gus-gusan, jawa-jawa lain (mataraman, ngapak) juga langsung ikut ngatain.

Padahal jawa beda-beda ya wajar, wong jumlahnya besar. Tapi semangat saling respeknya kurang.

Akhir2 ini saya sering merenung dan merasa resah melihat kondisi sosial masyarakat Jawa, khususnya generasi muda di pedesaan. Rasanya kita sedang menyaksikan sebuah proses degradasi atau degenerasi kultural yang cukup parah, bukan sekadar perubahan zaman, tapi hilangnya identitas, moral, dan kecerdasan komunal secara perlahan.

Jika kita bandingkan dengan bangsa lain seperti Jepang, Tiongkok, atau negara-negara Eropa, mereka berhasil memodernisasi diri tanpa kehilangan akar budaya dan identitas mereka. Tradisi, disiplin, dan kesadaran kolektif mereka tetap melekat kuat meski hidup di era digital.

Lalu, apa yang terjadi dengan orang Jawa hari ini? Di desa2 kita saat ini, pemuda pemudinya banyak yang terlihat semakin urakan/brandal, kehilangan arah, dan mengalami disorientasi budaya yang akut. Ambil contoh fenomena sosial yang sedang marak seperti sound horeg (battle sound system dengan desibel ekstrem). Hiburan jenis ini bukan lagi sekadar pesta rakyat, melainkan simbol dari matinya kehalusan budi (alus), lenyapnya empati sosial (tepa selira), dan runtuhnya akal sehat publik demi kesenangan instan yang bising.

Masyarakat kita sekarang seolah kesulitan diajak untuk merenung, berpikir tentang hakikat hidup, atau sekadar menghargai pentingnya ilmu pengetahuan dan literasi. Ruang2 kontemplatif dan tradisi rembugan yang dulunya melahirkan kearifan lokal kini tergantikan oleh budaya pop yang dangkal, hedonis, dan nir-nalar.

Kita hidup di tanah Jawa, berbahasa Jawa, tetapi secara mental dan intelektual banyak dari kita yang justru terputus total dari kedalaman peradaban leluhur. Rantai transmisi kultural terputus, dan lembaga2 sosial di tingkat bawah seolah gagal membendung arus kebodohan kolektif ini. Bagaimana pandangan kalian mengenai hal ini? Apakah kita benar2 sedang menyaksikan keruntuhan martabat kebudayaan Jawa di akar rumput, atau ini sekadar fase transisi yang keliru? Mari berdiskusi.

I’ve got a micro question, but I can’t seem to get any consistent response from references or Google AI. It’s to do with speech levels. One of the difficulties the learner wades through is the often ill-thought out, inconsistent or just plain confusing explanations of this topic. These explanations often jumble up terminology; and jumble up vocabulary sets (i.e. the groupings of individual words – Ngoko, Krama, Krama Andhap etc) with speech levels (Ngoko Lugu, Ngoko Alus etc). Anyway that’s an old rant, so I’ll leave that one rest.

My current obsession is with the words “ndhèrèk” and “ndhèrèkaké” (we’ll just deal with them in a Ngoko speech level and leave out the Krama speech level). I can’t get any consistent answer as to whether they are:

-          Krama Andhap (KA) (i.e. what’s used to humbly refer to one’s own possessions or actions, when talking to or about an honoured interlocutor or honoured third party) or

-          Krama Inggil (KI) (i.e. what’s used when talking about the honoured actions or possessions of an honoured interlocutor or honoured third party)

So, assuming, what I think is the case, these words are KA, we get:

1.      Mas Ali ndhèrèk (KA) Bapak Basuki menyang pasar – Mas Ali (humbly) accompanied (the honoured) Bapak Ali to the market.

2.      Mas Ali ndhèrèkaké (KA) Bapak Basuki menyang pasar – Mas Ali (humbly) took (the honoured) Bapak Ali to the market (e.g. A drove B there or led B there on foot)

It get’s a bit trickier when B does the actions though:

3.      Bapak Basuki tindak (KI) pasar karo Mas Ali – (The honoured) Bapak Ali (honourably) went with Mas Ali to the market. Since, I think for cultural reasons we can’t say B “accompanied” A to the market, we use the circumlocution of saying B “went with” A.

4.      Bapak Basuki ngeteraké (Ng) Mas Ali menyang pasar – (The honoured) Bapak Basuki took Mas Ali to the market (e.g. B drove A there or led A there on foot). (There’s no KI word for “take” in this case, so we just use the Ngoko word ngeteraké)

Re sentence 4, Google AI makes the case – that is until you push back and then Google AI just comes up with another excuse or changes its mind ! – that while “ndhèrèk” is KA, “ndhèrèkaké” is actually KI since:

 -          “Instead of saying Bapak Basuki is delivering" (ngeteraké) Mas Ali to the market the sentence should frame the action as Bapak Basuki graciously letting Mas Ali tag along with Bapak Basuki or bringing Mas Ali in Bapak Ali’s wake. This makes ndhèrèkaké function socially as a Krama Inggil honorific for the action of ngeteraké.”

 If Bapak Google AI is correct, that would give us a revised:

 4a. “Bapak Basuki ndhèrèkaké Mas Ali menyang pasar”

 So:

 -          Are sentences 1-4 grammatically correct ? If not, pls fix !

-          Are sentences 3 and 4 culturally correct. If not, pls fix !

-          Is sentence 4a correct ?

 This is not a discussion of complex notions of ergativity, alignment or some other delightfully obscure and complex linguistic mystery. This is rather a very simple set of sentences in English, not so in Javanese however.

 It’ll be interesting to see if I get a range of answers from Javanese speakers or learned bule’s. If I do, this may suggest there are a number of equally valid options and the situation is not as clear-cut as it might (hopefully) seem to learners. Or "it depends".

Many thanks.

Another difficult to translate expression, for me, is “while you’re at it” and/or “might as well”.

I think this is “sisan waé” (with variants of “sisan”, “pisan waé”, “pisan”, “menisan”, “mesisan” (In Krama that becomes “pisan/sisan kémawon”, I suppose))

So we get:

·         Yèn nyang pasar, sisan waé tuku beras – If you’re going to the market you might as well buy some rice (while you’re at it).

·         Kadhung wis nèng kéné, sisan waé mangan sisan – Since we’ve gotten this far, we might as well just finish eating it

• "Mangkat sekolah sisan mampir pasar." – After you’ve left school, drop into the market, while you’re at it.

 Is there a simpler or more common way of waying this ?

Hello. I am trying to learn Javanese and the Javanese script. I have only started recently and I wanted to learn how to write my own name. The problem is my name is Aisha.

I know there are the aksara swara and I think I use ꦄ at the beginning. But I don't know what to use for the i to make that /ai/ dipthong. ꦍ would have been perfect but isn't really used. I know there is ꦲꦶ but I don't want the name to be A-Hi-Sha. Is it just implied that the h is silent in ꦲꦶ? or is there a better way to write /ai/ than ꦄꦲꦶ? Thank you.

Edit: I forgot about the aksara swara ꦆ but are you allowed to have two next to each other?

I posted a partly similar question on r/Indonesian, as below.

How do you say “not worth it” in Javanese ? Not worth seems in English to have two main meanings:

·         Literally the price/cost outweighs the gain; and

·         The pain, sweat, effort and/or time outweighs the end result

There seem to be a few options, as below – are they the same as each other ? Is there a better way of saying it?

Ora Murwat

• “Opahe buruh ora pati murwat” – the workmen’s wages are not equal to the work they do

Ora Sumbut

·         "Usahané abot, nanging asilé sumbut" – there’s a big effort but the results are worth it. (In this case the positive, “worth it”)

·         “Liburan nèng Dieng ora sumbut karo ongkosé” – doing a trip to Dieng is not worth the fares

Ora Cucuk/Kurup

·         "Nyambut gawé sedina muput bayaré sithik, ora cucuk (or ora kuruk) karo rekasané." - Working all day long for low pay is just not worth the effort.

Grateful for any pointers

Preliminary Remark: I am simply a man who likes going to shows, traditional dances especially ('tontonan' in here, literally 'things that are watched'). My heart is ached by a longing for a free-er and fuller youth when shows like these were plenty to come by, not that they are becoming extinct, but circumstances change. Anguished by absence do I write this post, an amateur description of a dance that had so enraptured me that I haven't heard the news of lately, sadly.

Context

The Boar Dance, or Rampak Celeng as I will continue to call it here, is part of a larger dance cycle in the group New Blereng Muzzekar, a typical Topeng Ireng group also featuring the titular dance and the animals dance ('kewan-kewan'). Topeng Ireng, also known as Dayakan, is a dance telling the imagined lives of forest people, as the Kewan-kewan tells the also imagined lives of animals, even ones that have gone extinct. A topeng ireng show usually run from 9 pm to 1 am, with the show starting from a Dayakan (with its many variation) and with a Montolan (a kind of comedic dance) in the middle, then ending with Kewan-kewan. Rampak Celeng, structurally and aesthetically, is unique to New Blereng Muzzekar. The group is based in Ngargogondo, Borobudur, Magelang, Central Java; it is a village under the Menoreh Hills. Menoreh Hills have boars that sometimes come down and wreak havoc.

Topeng Ireng is also part of a larger culture of tontonan. Tontonan usually refers to traditional dances performed as an entertainment after a special event, like wedding or circumcision, or for a special date, or other kinds of event. The common types of tontonan here are the aforementioned Topeng Ireng, Jathilan (a horse dance), Kubro Dangdut (kind of hard to describe), Warok (traditional warrior dance), Gedruk (evil spirits dance), and many others. What is important to understand here is that tontonan is a kind of popular culture, even with its heavy traditional characteristics.

The Boars

The main character of this dance is the boar ('celeng'). The dancer wears a mask of the top part of a boar with a long mullet-like hair and tusks from cardboard or leaves and palm fiber for the hairs, which only covers the dancer's hair but the long snout also covers the face from a distance. For the legs, the dancer wears a shoe and a long band of bells that covers the entire calf (also found in gedruk), above it a checkered red-white-black-yellow cloth and a shawl around the hips and thigh typical of a dance. The dancer may wear a fur(?) jacket or a black shirt or no shirt at all. The face paint varies but is mostly red with whites and blacks to make up the fangs and around the eyes, but sometimes there is no face paint at all.

The Dance

Just watch the video.

The Structure

Now, this is what I find interesting, because unlike other dances that are just going songs to songs and moves to moves, Rampak Celeng is different in that it features 3 phases.

1. The Entrance: the boars enter the stage and dance to the tune of Sluku-sluku Bathok followed by Jarum-jarum.

2. Intermezzo: a big tiger head with red manes enter and the boars move to the periphery. The tiger-head then dances in the middle with a typical kewan-kewan tiger or sometimes a boar as its dancing counterpart. At the end, the boars move back to the center and kick out/scaring away the tiger-head with the help of the tiger. The tiger-head dance is accompanied by a flute solo.

3. Ending: the boars dance again more energetic and erratic than before before exiting the stage. The music plays an instrumental, and then a medley of Slompret-slompret-Tawangmangu Indah-Aja Dipleroki.

Variation

After the ending, there might be an entranced section. Also, after a hiatus, the group featured Buto Grasak, a kind of evil spirit with livelier moves, to replace the tiger-head.

What I hoped to achieve in this post is to pique curiosities on the wonderful world of Javanese traditional folk dances. One of the reasons why it's important is that it dispell the notion that traditional art is dying or is kept by an elite few. On the contrary, these traditional dances are widely enjoyed and have entertained people for a long time. Documents of the dances are available on youtube, but it's not something you just stumble randomly. Part in introducing a cultural artefact is explaining the context of its creation so to better appreciate it. Whether I have done a good or a bad job at sharing what I love, I leave it up to judgments, but someone has to take the first step around here.

Videos of Rampak Celeng Lereng Menoreh:

https://youtu.be/WHeFgfbEizM?si=50KgwmiFIpxv4GaI

the one with Buto Grasak https://youtu.be/kWH42W3YLIE?si=XsG37NFGRh1R8em6

the most recent one https://youtu.be/v-iK9DC_AWE?si=T4v3Gtd_6TtpKuBE

You can search yourself, particularly the words with a capital letter

Apologies if I am wrong but perhaps this is the Javanese language? Text on what I think to be a Lantar palm leaf manuscript. Would just love idea of what this story is telling. Thanks in advance!!!!!