Representation of Femininity in Indonesian Folklore

Abstract

At the level of social life, the issue of femininity and masculinity is still a serious topic of discussion because in the construction of patriarchal culture, there is still a clear dichotomy. Femininity in Indonesian folklore is interesting to study because it presents a female figure who is different from the reality of society and who is able to deconstruct herself. The research objectives are to reveal (1) the role of femininity in female characters in building of themselves and the environment and (2) the strength of female characters' femininity in building their self-image as dignified beings. The method used in this research is a descriptive method, namely describing the issue of femininity in folklore. The approach used in this research is feminist, an approach that emphasizes the image of women and stereotypes of women in literary works. The research data are story sequences in the form of sentences and paragraphs that describe the values of femininity in Indonesian folklore. Data collection techniques were conducted through documentation studies include classifying and categorizing data, as well as critical and creative reading and finding the power of feminism in stories. Research data analysis techniques are carried out by understanding the meaning of the text in depth, observing and exploring the message, and analyzing it interactively and dialectically for the accuracy of the findings. The results show that (1) the role of femininity of female characters in Indonesian folklore is seen in how women develop themselves and the environment, which is marked by the appearance of empowered characters; and (2) the strength of femininity possessed by female characters in building their self-image as dignified beings is shown in their ability to carry out their duties in the domestic and public spheres in a balanced manner. Women's intelligence and ingenuity are demonstrated in developing strategies for dealing with problems. Moreover, women have strong authority and independence. The conclusion that can be drawn is that the representation of femininity in Indonesian folklore is that female characters are able to position themselves with the strength built by themselves and their environment.

Full text

KEMBARA: Jurnal Keilmuan Bahasa, Sastra,
dan Pengajarannya
P-ISSN: 2442-7632 | E-ISSN: 2442-9287|Vol. 9, No. 2, October 2023, pp. 387 – 399
10.22219/kembara.v9i2.25220 | http://ejournal.umm.ac.id/index.php/kembara
387
Representation of Femininity in Indonesian Folklore
(Representasi Feminitas dalam Cerita Rakyat Nusantara)
Sugiarti*
Univesitas Muhammadiyah Malang,
Indonesia
sugiarti@umm.ac.id
Fitri Anggun Lestari
Universitas Muhammadiyah Malang,
Indonesia
fitrialestari11@yahoo.com
*Corresponding author: Sugiarti | email: sugiarti@umm.ac.id
Article History
Accepted: February 21, 2023
Revised: October 11, 2023
Available Online: October 31, 2023
Abstract: At the level of social life, the issue of femininity and masculinity is still a serious topic of discussion because
in the construction of patriarchal culture, there is still a clear dichotomy. Femininity in Indonesian folklore is interesting
to study because it presents a female figure who is different from the reality of society and who is able to deconstruct
herself. The research objectives are to reveal (1) the role of femininity in female characters in building of themselves
and the environment and (2) the strength of female characters' femininity in building their self-image as dignified beings.
The method used in this research is a descriptive method, namely describing the issue of femininity in folklore. The
approach used in this research is feminist, an approach that emphasizes the image of women and stereotypes of women
in literary works. The research data are story sequences in the form of sentences and paragraphs that describe the values
of femininity in Indonesian folklore. Data collection techniques were conducted through documentation studies include
classifying and categorizing data, as well as critical and creative reading and finding the power of feminism in stories.
Research data analysis techniques are carried out by understanding the meaning of the text in depth, observing and
exploring the message, and analyzing it interactively and dialectically for the accuracy of the findings. The results show
that (1) the role of femininity of female characters in Indonesian folklore is seen in how women develop themselves
and the environment, which is marked by the appearance of empowered characters; and (2) the strength of femininity
possessed by female characters in building their self-image as dignified beings is shown in their ability to carry out their
duties in the domestic and public spheres in a balanced manner. Women's intelligence and ingenuity are demonstrated
in developing strategies for dealing with problems. Moreover, women have strong authority and independence. The
conclusion that can be drawn is that the representation of femininity in Indonesian folklore is that female characters
are able to position themselves with the strength built by themselves and their environment.
Keywords
folklore, femininity, empowered women
Abstrak: Pada tataran kehidupan sosial persoalan feminitas dan maskulinitas masih menjadi perbincangan serius karena
kontruksi budaya patriarkhi masih terdapat dikotomi yang jelas. Feminitas dalam cerita rakyat nusantara menarik untuk
dikaji karena menghadirkan sosok perempuan berbeda dengan realitas masyarakat yang mampu melakukan
dekonstruksi terhadap dirinya. Tujuan penelitian adalah mengungkapkan (1) peran feminitas tokoh perempuan
membangun diri dan lingkungan; (2) kekuatan femininitas tokoh perempuan dalam membangun citra diri sebagai
mahkluk yang bermartabat. Metode yang digunakan dalam penelitian ini metode deskriptif yakni mendeskripsikan
persoalan femintas dalam ceita rakyat. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan feminis yang
merupakan pendekatan yang menekankan pada citra perempuan serta stereotipe perempuan dalam karya sastra. Data
penelitiam berupa berupa sekuen cerita dalam bentuk kalimat, paragraf yang menggambarkan tentang nilai-nilai
feminitas dalam cerita rakyat Nusantara. Teknik pengumpulan data melalui studi dokumentasi dengan
mengklasifikasikan data, mengkategori data serta pembacaan kritis dan kreatif serta menemukan kekuatan feministas
dalam cerita. Teknik analisis data penelitian dilakukan dengan memahami makna yang teks secara mendalam,
mencermati dan mengeksplorasi pesan serta menganalisis secara interaktif-dialektis untuk keakuratan temuan. Hasil
penelitian menunjukkan bahwa (1) peran feminitas tokoh perempuan dalam cerita rakyat nusantara tampak pada
bagaimana perempuan dalam membangun diri dan lingkungan yang ditandai dengan tampilnya tokoh berdaya; (2)
kekuatan femininitas yang dimiliki tokoh perempuan dalam membangun citra diri sebagai mahkluk yang bermartabat
ditunjukkan pada kemampuan untuk menjalankan tugas di ranah domestik dan publik secara seimbang. Kecerdasan
dan kecerdikan perempuan dalam menyusun strategi dalam menghadapi persoalan. Di samping itu, perempuan memiliki
kewibawaan serta kemandirian yang kuat. Kesimpulan yang dapat dikemukakan bahwa representasi feminitas dalam
cerita rakyat nusantara bahwa tokoh perempuan mampu menempatkan dirinya dengan kekuatan yang dibangun oleh
diri dan lingkungannya.
Kata Kunci
cerita rakyat, feminitas, perempuan berdaya

Volume 9, Nomor 2, October 2023, pp 387 – 399 | P-ISSN: 2442-7632 | E-ISSN: 2442-9287
388 | Sugiarti & Lestari | Representation of Femininity in Indonesian Folklore
How to Cite
Sugiarti, & Lestari, F. A. (2023). Representation of Femininity in Indonesian Folklore. KEMBARA:
Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya, 9(2), 387-399.
https://doi.org/10.22219/kembara.v9i2.25220
Copyright@2023, Sugiarti & Fitri Anggun Lestari
This is an open access article under the CC–BY-3.0 license
INTRODUCTION
Women presented in literary works (stories) are an important part of discussions related to
issues of femininity. This is related to the socio-cultural construction of society, which places women
in a marginal position. As a result, women are living in conditions that are less taken into account. In
the context of relationships between men and women, men are always seen as controlling public roles,
and women are seen as dominators and determiners of domestic roles Akmaliyah et al., (2023); Ginting
et al., (2023); Tarigan & Hayati, (2023) stated that the existence of feminism is still being fought for
up until this modern era. Women are always relegated as secondary figures, insignificant, and their
position is not important compared to men. Feminist existentialism is actually about a woman who
does not always depend on her opposite gender. However, if we look at it from the perspective of the
existence of feminism, women also have the freedom to act against the level of normative values and
constructions in society that they think are inappropriate.
Therefore, this study will explore in depth the operation of feminine values constructed
through stories. In reality, these values are embedded directly culturally and socially, so they have an
adverse impact on women. Indonesian folklore involves women as story characters. The figure of the
story character shown will influence him. The question arises about how female characters are
presented in the story in relation to being feminine. Therefore, it is necessary to explain the feminine
values contained in Indonesian folklore. On the other hand, women have hidden strengths that are
rarely taken into account as objects of study. Meanwhile, the concept of "motherhood" in the
description of womanhood has a hidden meaning that influences the dignity of women.
Women are educated in values such as patience, obedience, a good temperament, and
flexibility. As feminists reviewed the experiences they had as women and found striking similarities in
these experiences, the idea of “sisterhood between women” became increasingly important. Although
women previously viewed themselves as isolated from other women and, at the same time, as
competing with them, they began to show their identities to each other (Hollows, 2000). Femininity
is seen as the basis for understanding the oppression experienced by women. It is often stated that
adolescent girls are socialized into feminine values and behaviors that are associated with passivity,
submissiveness, and dependency. For feminists, to be feminine, women are "colonized" by patriarchy
and are implicated in the oppression they experience (Millet, 1977).
The issue of femininity cannot be separated from feminist thinking. Feminism talks about
equality between men and women in the political, economic, and social fields. Apart from that,
feminism is an organized activity or movement that fights for the rights and interests of women
(Sulianti, 2021). The resistance or struggle carried out by writers to oppose and break down the
discrimination experienced by women is part of the feminist movement (Muyassaroh, 2021). Feminist
thinking emerged as a result of gender prejudice, which tended to prioritize women (Uli, 2020). This
is in line with Ismail (2019), who refers to gender for the purpose of gender balance and interrelation.
This is because there is a stigma that women do not have more strength than men, both physically
and psychologically. Feminism itself forms an awareness built on women's unique experiences of
truth, knowledge, and power (Aslamiyah et al., 2020). Basically, women are able to have the same role
and power as men.
The idea of feminism demands that women be women of power. Empowered women are
women who have the ability and courage to assert their rights (Again, 2020). In real life, most women
only play roles and duties as mothers and wives (Danu & Samiatri, 2021). In fact, women are able to
have the same roles as men. Apart from that, the real life of feminism is also presented in literary

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works. Literary criticism emerged as a bridge connecting feminism and literary works (Anggarawati et
al., 2020). This feminist literary criticism is not intended to be negative. Wiyatmi in Islahuddin et al.
(2021) explains that feminist literary criticism is literary criticism based on feminist views or ideas that
wish to view fairly the existence of women as writers or as female characters in literary works.
In Indonesian folklore, we explore the potential of local culture that lives and develops in
society. Indonesian folklore contains various kinds of uniqueness and educational value. In line with
the view of Sujiono (2020), the educational value contained in folklore is related to four things: moral
values, cultural or traditional values, historical values, and social values. According to Levi Strauss,
folklore has its own logic, which also reflects the logic of collectivity. Understanding this logic will
make us aware that, at first glance, folklore sounds strange and unreasonable, but in fact it is not
strange and makes perfect sense. This awareness will generate appreciation for other cultures,
including the culture of the owner of the folklore, which is called multicultural awareness. Folklore
also reflects cultural values that are masculine and feminine.
This issue needs to be criticized because, so far, women are still considered weak creatures
and at a second-class level. This thought continues to be a question that needs to be answered. Is it
true that folklore emphasizes the forgotten femininity of female characters, or vice versa? This issue
needs to be explored in depth so that a clear picture of femininity in Indonesian folklore is obtained.
Femininity is the nature of every woman. They can find and feel this on different occasions." As long
as women continue to return to their nature and role, femininity is women's weapon and strength to
remain strong and exist (Levine, 2015). The author's thoughts regarding the reality of life are thoughts
that are the result of construction, but the social construction that has been formed so far is still being
questioned again, especially related to the existence of the characters in the literary work.
Through the representational system built in Indonesian folklore, the identity of being a
woman or a man is built. Identity, in feminist studies, is not understood as a single thing. Identity is
the result of individual or group construction in the process of self-labeling. Therefore, gender identity,
which is attached to the roles that men and women must carry out in human life, is the result of human
construction and is not something that is innate. Thus, gender identity is a political matter. The identity
construction process does not occur in a single or causal process based on the subject's own wishes
but is a temporal process that operates through the repetition of norms (Butler, 1993). Norms that
are imagined as truths are passed down through folklore. Understanding this is very important because
the existence of folklore in Indonesian society occupies an important position. Folklore is used as a
medium for entertainment and teaching children (Noorvitasari, 2021). This shows the importance of
the position of folklore in Indonesian society. However, in reality, various folk tales that are always
reproduced and consumed in the form of reading books or learning materials in schools are gender
biased (Eliyanah & Zahro, 2021). The findings regarding gender relations in Indonesian folklore are
in line with research findings, which state that there is an imbalance in the proportion of characters
and a special stigma attached to male or female gender in Indonesian folklore.
Folklore is a story from the past that originates and develops in society as a distinction between
every nation that has various cultures, including the rich culture and history of each nation and its
gods (Islahuddin et al., 2021). Folklore is a story or literary creation that lives or has lived in a society.
Folklore is part of regional literature, namely literature expressed through regional languages (Qur'ani,
2021). Folklore often reflects the perceptions and culture of the region where the story originates.
Without many realizing it, many folk tales contain quite strong cultural constructions of patriarchy
and feminism. One of the folk tales that is closely related to the image of feminism and is interesting
to study is the Indonesian folk tale. This is because Indonesian folklore, which often tells stories about
a goddess and queen, contains historical values and beliefs from each region in Indonesia (Pamungkas,
2020). Folklore can be used as a means to build collective awareness about understanding men and
women in their functions both biologically and socially.
Similar research was carried out by Islahuddin et al. (2021) under the title The Image of Women
in the Folklore of Putri Kemang: A Study of Feminist Literary Criticism. The results show that the image of
women contained in these folk tales is equal education, women's independence, the ability to make

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decisions, the freedom to choose partners, and women's leadership. Apart from that, the research
results show that the image of women in folklore is in line with feminist literary criticism. There is also
research from Shofiani et al., (2022) on the title Self-Strength in Female Characters in the Novel Amba by
Laksmi Pamuntjak. The results of his research explain that the female figure is not an “other” figure.
Women can also have a dynamic balance with men. Such characteristics can occur due to the processes
of socialization and culturation. Furthermore, research from Holipa et al. (2020) titled
Representation of Feminism in the Film Mulan shows that the film Mulan shows feminist values at the
reality level through appearance codes, costumes, make-up, environment, behavior, dialogue,
movement, and expression. At the level of representation, feminism is shown through camera codes,
characters, action, and dialogue. At the ideological level, feminist values are represented through liberal
feminism, radical feminism, psychoanalysis, and gender ideology.
The difference between this research and the three studies above is the research object. The
first research object is both folk tales but only focuses on one type of story; the second research object
is novels; and the third is films. The research focus both focuses on feminism, but there are different
points of view and theories so that the research results vary. This research uses feminist theory, namely
revealing the important values that exist within women along with the experiences and struggles
carried out by women (Susanto & Shofiani, 2022). The advantage of this research compared to
previous research is that it chose a wider research object, so there was a lot of diversity in the data
obtained. Apart from that, this research highlights the strengths of women in disposing of themselves
and their environment. Ben Agger suggests that feminist theory develops differences, which they see
not as a bad thing but as a form of appreciation of the heterogeneity of the world and a reflection of
the different subject positions held by feminists, giving rise to different ways of theorizing their
conditions (Agger, 2017). The feminist theory put forward by Agger opens a way of analyzing from a
neutral position in positioning gender, not in the position of men and women, but by looking at the
analysis of literary texts and understanding what the relationship between texts and texts in the
narrative is presented and represented. Firwan, (2017); Ruthven, (1984); Islahuddin et al., (2021) stated
that feminist theory is expected to be able to open up new understandings or views by revealing gender
components, especially in relation to female characters in literary works.
The femininity of female characters is sometimes underestimated, meaning that women are
considered figures who are not yet independent in carrying out their roles both domestically and in
public. Meanwhile, if there are women who are successful in the public sector, they still do not receive
good appreciation. This happens because society's culture still views women as gender-biased.
Femininity can also be an explanation for the oppression experienced by women. Femininity
often discusses stereotypes of women who are in binary opposition to men. This is in line with
perspective of Rowbotham (1996) that little attention has been paid to the various models of feminine
identity that differ not only in historical and geographical contexts but also in their own contexts. The
idea that femininity is a cultural product was central to many second-wave critics. Femininity is seen
as the basis for understanding the oppression experienced by women. It is often stated that adolescent
girls are socialized into feminine values and behaviors that are associated with passivity,
submissiveness, and dependency. However, the construct of thought will always change according to
changing times. In reality, many women are empowered in their capacity as members of society.
For feminists, to be feminine, women are "colonized" by patriarchy and are implicated in the
oppression they experience (Millet, 1977; Rowbotham, 1996). Furthermore, the distinction between
sex and gender is very important to understand this process. It is the ‘maternal' instinct that makes
women more supportive, nurturing, and loving than men. The idea that femininity is a monolithic
entity ignores the fact that femininity is influenced by class and race (Hollows, 2000). However,
femininity is a strength that women have that arises from women's awareness of being involved in the
social life of society.
Based on the explanation above, this research aims to examine (1) the role of female characters'
femininity in building themselves and the environment and (2) the strength of femininity that female
characters have in building their self-image as dignified beings. The benefit of this research is to

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KEMBARA: Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya | 391
strengthen the field of interdisciplinary literary science to form a body of literary science at a macro
level. In addition, this research provides input for the development of further research that focuses
on building the dignity of women in literary discourse and social life. In many cases, researchers can
develop similar research on the ideology of femininity in folklore in a wider area.
METHOD
This research is a textual study using qualitative research with descriptive methods. Qualitative
research aims to describe the lives of existing communities descriptively using words (Andalas, 2017).
The descriptive method is carried out through analysis of the data that has been collected, which can
be in the form of words or images. The research approach is feminism, namely, an approach that
focuses on the image of women and stereotypes of women in literary works. It discusses gender issues
regarding the role and position of women as well as gender inequality and the distribution of men's
power over women. The data source for this research is 13 folk tales selected purposefully on the
website www.ceritarakyatnusantara.com. The selection was based on provincial clusters with
multicultural considerations, the highest number of female figures, and the mindset of people in
different environments. The research data are in the form of story units in the form of sentence quotes
and paragraphs related to femininity in female characters. Data collection techniques was conducted
through documentation studies include classifying data, categorizing critical and creative reading data,
and finding the power of feminism in stories. Research data analysis techniques are carried out by
understanding the meaning of the text in depth, observing and exploring the message, and analyzing
it interactively and dialectically for the accuracy of the findings. Applicably, data analysis techniques
start with data reduction, presenting data, and drawing conclusions. The overall analysis can reveal
femininity in Indonesian folklore as a whole.
RESULTS AND DISCUSSION
The role of female characters in Indonesian folklore in developing themselves and the
environment can be seen in the behaviors and actions they take when faced with problems. The
consequences of actions taken by women are more likely to reflect the concept of femininity inherent
in them. The self-concept of women as protectors is clear. This can be seen through the femininity of
female characters as well as the power of femininity in building their self-image as dignified beings.
The Role of Femininity in Female Characters in Indonesian Folklore
Women have basic maternal instincts, both towards their biological children and non-
biological children. A mother's instinct cannot be denied in fulfilling basic needs, namely food. In
society, women usually take care of family consumption. The female giant figure in Acehnese folklore
exemplifies this by graciously accepting human visitors who serve as her delectable food. A woman's
feelings as a mother have quite high sensitivity to fulfilling the desire to share with others.
Mendengar keterangan itu, tiba-tiba si raksasa betina merasa iba kepada mereka. Ia pun
segera mengajak mereka masuk ke dalam rumahnya, lalu menghidangkan makanan dan
minuman kepada mereka. Oleh karena sudah kelaparan, ketujuh anak itu menyantap makanan
tersebut dengan lahapnya. “Habiskan cepat makanan itu, lalu naik ke atas loteng! Kalau tidak,
kalian akan dimakan oleh suamiku. Tidak lama lagi ia datang dari berburu” Ujar raksasa betina.
(Kisah Tujuh Anak Lelaki).
Hearing that statement, suddenly the female monster felt pity for them. He immediately
invited them into his house, then served food and drinks to them. Since they were already hungry,
the seven children ate the food greedily. “Finish the food quickly, then go up to the attic!
Otherwise, you guys will be eaten by my husband. Soon he came from hunting," said the female
monster. (Story of the Seven Sons)
The female giant character is the one who usually faces humans as her prey. She has social
sensitivity and is sensitive to seeing humans who are hungry. A motherly attitude helps children. This

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information demonstrates the maternal attitude that the female giant displayed by wanting to assist
lost human children and provide them with food and drink. The female giant also hid them from her
giant husband, who considered humans to be very delicious food. The female giant clearly showed an
attitude of motherly love. Maternal love is unconditional reinforcement of the child's life and needs.
This maternal love is manifested in the attention and sense of responsibility given to a child (Khairi &
Harun, 2016). Apart from maternal love, women also have a strong sensitivity or feeling for their
children. This is shown in folklore about the role of femininity on the island of Lombok, namely the
underground palace. In this story, the empress character has a hunch and is sensitive to the
situations and conditions that will befall her children.
Anak yang lahir pertama disembunyikan permaisuri di suatu sudut istana di bawah tanah itu. Ia
sudah menduga, Danawa Sari akan membunuh anak-anaknya (Istana di Bawah Tanah)
The firstborn child was hidden by the queen in a corner of the underground palace. He already
suspected that Danawa Sari would kill his children (Underground Palace).
The second piece of information demonstrates the empress's skill in preventing the concubine
Danawa Sari from killing her twin sons, who were crown princes. This shows the empress playing a
dual and important role in building herself and protecting the palace environment by saving the
potential successor to the kingdom. In domestic life, women will have a dual role, namely as mother
and wife for their husbands and children (Susanti, 2021).
Women have strategies in their lives to negotiate with men. This can be seen in Rara
Jonggrang's cleverness and ingenuity in rejecting the wishes of Bandung Bondowoso, who has
supernatural powers. This ingenuity was visible when Bandung Bondowoso almost completed the
thousand temples and two wells he requested. So Rara Jonggrang asked the ladies-in-waiting.
“The nymphs wake up the girls around the palace. Tell them to burn straw and pound rice in
a mortar. Also sprinkle flowers that smell good.” (Rara Joggrang)
With the ingenuity of the character Rara Jonggrang in thwarting Bandung Bondowoso, who
almost completed the temple he requested, Rara Jonggrang succeeded in thwarting Bandung
Bondowoso's desire to marry her, even though he was cursed into a statue. On the other hand, the
intelligence of the female character shown by the Youngest from Lampung was seen when she
overcame the cunning of the parents who threw their child into the forest. He did this by marking his
way home with candlenuts. The youngest's intelligence and ingenuity can also be seen in the following
quote.
“Sampailah mereka di sebuah ladang yang dihuni kedua raksasa suami istri. Ketujuh bersaudara itu
berencana menaklukan raksasa itu. Si Bungsu kemudian mengambil kolang-kaling dan digosok-
gosokkan ke sungai. Akibatnya tubuh dua raksasa itu gatal dan segera menuju gubuk...raksasa jatuh
ke dalam api unggun hingga tewas” (Si Bungsu Tujuh Bersaudara, 2015: 29)
“They arrived at a field inhabited by two giants, husband and wife. The seven brothers planned to
conquer the giant. The youngest then took the palm fruit and rubbed it in the river. As a result, the
bodies of the two giants itched and immediately headed for the hut. The giants fell into the bonfire
and died” (The Youngest Seven Brothers, 2015: 29).
The youngest character represents an intelligent woman. He can devise a plan to trap and kill
the evil giant. Another role is in Princess Kencana's Dream from Bali. It is the princess's choice that will
determine the future of the prince cursed by the frog. With the help of her father's advisor, the princess
finally decided to help people who were being persecuted.
“Aku harus menolong orang benar yang teraniaya”, “Dengarlah suara hatiku! Dengarlah, hai katak,
orang benar yang teraniaya. Aku bersedia menjadi istrimu, pendampingmu seumur hidup!” (Mimpi
Putri Kencana, 2015: 22)

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“I must help the righteous who are persecuted”, “Hear the voice of my heart! Hear, O frog, the
righteous who are persecuted. I am willing to be your wife and your companion for life.” (Princess
Kencana's Dream, 2015: 22)
The figure of Princess Kencana is a picture of a character who is kind and full of sincerity.
Princess Kencana ultimately made the right decision by saving people in the kingdom and the life of
Prince Frog. Women's ability to make decisions indicates that women, as creatures, can be equal to
men (Islahuddin et al., 2021). Helping is an attitude that shows a social role. Helping the community
is very important. A person living in a society is obliged to help each other when a person has a human
relationship (Maikomah et al., 2018).
Another role in building the environment is shown in folklore. The story of Doyan Nada from
West Nusa Tenggara. The goddess, as a female character, has a responsible attitude and keeps her
promises. This can be noted in the following quote:
“Begini, Tuan Putri. Hamba baru saja selesai mengelilingi pulau ini. Hamba melihat pulau ini semakin
penuh dengan pepohonan. Maka itu, Hamba menyarankan agar Tuan Putri segera memenuhi pesan
kakek Tuan Putri untuk mengisi pulau ini dengan manusia,” ungkap Patih Sangon. “Oh, iya, terima
kasih Patih telah mengingatkanku mengenai amanat itu,” ucap Dewi Anjani, “Baiklah kalau begitu,
besok temani aku untuk mencari tempat yang cocok dijadikan lahan pertanian oleh manusia yang
akan menghuni pulau ini!” (Kisah Doyan Nada: 10).
“It's like this, princess. I have just finished circling this island. I see that this island is increasingly full
of trees.” Therefore, Servant suggests that the Princess immediately fulfill the message of the
Princess's grandfather to fill this island with humans,” said Patih Sangon. “Oh, yes, thank you, Patih,
for reminding me about that mandate,” said Dewi Anjani. “Okay, then, tomorrow, accompany me
to look for a place suitable for agricultural land for humans who will inhabit this island!” (Story of
Doyan Nada: 10).
A conversation took place between the Princess and Patih Sangon as a form of appreciation
for women for being involved in making important decisions. Even though Dewi Anjani is the queen
of the genies, she remains humble. He tries to carry out the mandate ordered by his grandfather to
make the Lombok people have a civilization. One of the ideas of civilization was for humans to have
activities in managing agricultural land on the island.Overall, the role of female characters' femininity
in developing themselves and the environment can be examined in the following Table 1:
Table 1
The Role of Femininity in Indonesian Folktale Female Characters
No
Story
The Role of Femininity
Figure
Adherent properties
1
The Story of Seven Sons
Female giant
helper, motherly love
2
Underground Palace
Queen
Agility, taking care of the
environment, protector, friend
3
Rara Jonggrang
Rara Jonggrang
overcome cunning,
4
The youngest of seven siblings
The youngest
intelligent, helpful
5
Princess Kencana's Dream
Princess Kencono
helpfulness, sincerity, and kindness
6
The story of Doyan Nada
The Goddess
humbly hold the mandate
7
Codet Legend
Maemunah
Kind, fair, and wise
8
Mr. Cucumber
Maybe Srini
Loving, never giving up, and
breaking promises
9
Magic Porridge
Grandmother and
grandchild
Work hard and never give up.
10
The origin of Mount Mangkon
Granted
Hard worker
Source: Results of the research 2022 (processed)

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394 | Sugiarti & Lestari | Representation of Femininity in Indonesian Folklore
Table 1 above illustrates that the female characters, in carrying out their roles, experienced
quite significant changes. Women are often depicted as side characters who do not have an important
role in the family or society and as characters who accept life as it is (Anggraini, 2016). Female
characters in Indonesian folklore are able to deconstruct themselves, so they have an important role.
This can be seen in the representation of characters and their inherent traits. In reality, the character
is described as someone who is sensitive to the environment, helpful, kind, and trustworthy. This is
also confirmed by the femininity inherent in women who are agile, intelligent, able to overcome
cunning, humble, and hold a mandate.
The power of femininity in building female characters with self-image as dignified creatures
Women, as dignified creatures, certainly have the power to build their image well. In folklore,
there are many characters who show this power. One of them is Codet Legend Folklore, which brings
characters with female roles who like to provide challenges. Maemunah is a reflection of a woman
who is clever and brave.
“Sudah beberapa kali Jan Ament meminta tanah Maemunah. Namun Maemunah selalu menolak
permintaan itu. Memunah juga berkali-kali diancam akan dibunuh oleh Jan Ament...” (Legenda
Codet, 2015:33)
"Jan Ament has asked for Maemunah land several times. However, Maemunah always refused this
request. Memunah was also repeatedly threatened with death by Jan Ament. (Legenda Codet,
2015:33)
Quote 6 explains that Maemunah's courage was shown when someone who wanted to propose
to her was rejected. Likewise, when dealing with the Dutch, who colonized Indonesia and killed many
people for the sake of wealth, Memunah's character still dared to fight him. Apart from that, the
courage of the character Timun Mas when facing a giant.
“Anakku, jika suatu hari Si Raksasa datang dan hendak menangkapmu, larilah engkau sekencang
mungkin. Jangan lupa kau taburkan isi dari empat kantong ini satu per satu untuk melindungimu dari
kejaran raksasa,” nasihat Mbok Sirni dan suaminya (Timun Mas:2).
“My son, if one day the giant comes and wants to catch you, run as fast as you can.” Don't forget to
sprinkle the contents of these four bags one by one to protect you from being chased by giants,”
advised Mbok Sirni and her husband (Timun Mas:2).
The incident in quote 7 illustrates the advice Mbok Sirni and her husband gave Timun Emas
in facing the enemy who was going to kill her. In his escape, Timun Mas showed courage, fought
against an arbitrary giant, and succeeded in defeating him. Courage is included in the moral values
between humans and themselves (Firwan, 2017). Courage is, of course, also accompanied by
independence and toughness. The grandmother character in the folklore of magic porridge
demonstrates this.
“..dari hasil sayuran itulah nenek dan cucunya hidup. Karena hasil kebunnya kadang tak mencukupi,
si Nenek sering pergi ke pantai mencari ikan” (Bubur Ajaib, 2015:138)
“It is from these vegetables that the grandmother and her grandchildren live. Because her garden
produce was sometimes insufficient, Grandma often went to the beach to look for fish.” (Bubur
Ajaib, 2015:138)
The figure of the grandmother as a female character represents a woman who is independent
and able to survive by working alone. The grandmother character struggles hard to be able to meet
the needs of living with her grandchildren, even though she is old. In line with folklore The origin of
Mount Mangkon tells the story of a widow who is strong and independent. Mangkon supports his
two children, Taru Otau (first son) and Salikong (second son).

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“...Mangkon adalah seorang pekerja keras. Setiap hari ia bekerja untuk memenuhi kebutuhan
hidupnya bersama anaknya. Ia mengerjakan huma dengan rajin hingga hasilnya melimpah...” (Asal
Mula Gunung Mangkon, 2015:128)
Mangkon is a hard worker. Every day, he works to meet his living needs with his children. He worked
diligently until the results were abundant. (Origin of Mount Mangkon, 2015:128)
The character Mangkon is a strong and hardworking mother. The story excerpt contains a
picture of an independent woman without a man. The descriptions of the grandmother and Mangkon
show that women are as strong as men. This is actually a form of deconstruction of women, who have
long been considered weak creatures. This is in line with Millett's thinking Tong (2010), patriarchal
ideology exaggerates the biological differences between men and women and ensures that men always
have a masculine and dominant role, while women always have a subordinate, or feminine, role. This
ideology is so strong that men are usually able to gain the approval of the women they oppress´.
Indonesian folklore shows that women can occupy men's positions and have the same fighting
power as men. Forms of gender construction in Indonesian folklore feature female characters who
are depicted as acting like men and even being very strong in fighting. The depiction of strong women
in folklore is found in the title of the story, Calon Arang. This can be seen in the following quote.
Calon Arang tak mau ketinggalan, Dia pun menyerang Narothama”) Calon Arang (2015: 42)
Calon Arang did not want to be left behind; he attacked Narothama” (Calon Arang, 2015: 42)
Calon Arang is a magical woman who has power and causes the people of the Kahuripan
Kingdom to experience strange illnesses. Calon Arang also has magic knowledge that spreads skin
diseases every night. The presence of this disease made the people anxious and made Majesty Erlangga
give orders to Path Narothama, who was accompanied by Pungga Mukti and Pungga Sasra, to arrest
Calon Arang in Girah village. However, with his powerful strength, Calon Arang was able to defeat
the entire royal army. This shows that women can also be skilled at doing the same things as men. In
terms of education or school, it is men who get the opportunity to go to school, while women are
only given skills limited to what they need to prepare them for marriage (Kurnia & Hidayat, 2020).
However, Calon Arang was able to show that his skills in using magic were above average.
“Calon Arang yang tinggal di Desa Girah itu menyebarkan penyakit dengan ilmu sihirnya. Rakyatpun
resah” Calon Arang, 2015: 41)
“Calon Arang who lives in Girah Village is spreading disease with his witchcraft. The people are
restless.” (Calon Arang, 2015: 41)
The depiction of strong and great women is found in the story. Calon Arang is one of three
great female characters in stories in East Java Province, which shows that women have the same
degree of strength as men. This is illustrated in the story entitled Damar Wulan and Menak Jingga, which
has a great female character named Ratu.
“Pada masa Majapahit diperintah oleh Ratu Ayu Kencana Wungu” Damar Wulan dan Menak Jingga
(2015: 704)
Ratu Ayu Kencana Wungu was in charge during the Majapahit era, according to Damar Wulan and
Menak Jingga (2015: 704).
The Queen's character has great greatness and high power in the kingdom, namely as the
leader of the kingdom. The power of women reflected in the Queen's character is strong, tough, and
wise in leading the kingdom. There are three main factors that determine the success of women's
leadership, namely: having a far-sighted way of thinking; having conceptual creativity and thinking that
is different from most people; and having the strength of heart to be firm towards relatives and society

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396 | Sugiarti & Lestari | Representation of Femininity in Indonesian Folklore
(Irwansyah, 2020). Apart from having power, the depiction of female characters also has the ability to
think cleverly; this is depicted in the story entitled The Origin of Tengger and Mount Batok.
“Waktu masih tengah malam Rara Anteng membanguungkan ibunya serta beberapa perempuan
tetangganya. Ia memiinta mereka membakar jerami. Dari arah timur tampak cahaya merah. Bukan
hanya itu saja. Mereka diajaknya menumbuk padi hingga sura lesung tak..tak..tak” Asal Mula Tengger
dan Gunung Batok (2015: 291)
“While it was still midnight, Rara Anteng woke up her mother and several female neighbors. He
asked them to burn the straw. From the east, a red light appeared. Not only that, he invited them to
pound the rice until the mortar was tak..tak..tak.” The Origin of Tengger and Mount Batok (2015:
291)
In the quote above, the ingenuity of the female character can be seen in Ra Anteng when
thinking about the right way to thwart a wedding with a giant. Rara Anteng asked the giant to make an
ocean in the middle of the mountain in one night. The giant agreed. Rara Anteng's ingenuity made the
giant fail to make the ocean by waking the women in the village to burn straw, wake the chickens, and
ring the mortar as a sign that it was morning.
Overall, the strength of women in Indonesian folklore used as research samples represents
women who are physically strong. In addition, women have intelligence or ingenuity in thinking when
facing problems, which were initially considered to be emotional creatures. The image of women being
able to break common stereotypes is one form of struggle to equalize equal rights between women
and men (Santoso, 2022). A woman's strength is shown by her ability to respond to problems that
befall her so that she can behave as described in the following Table 2.
Table 2
The Power of Femininity in Female Characters in Indonesian Folklore
No
Story
The Role of Femininity
Empowered
Self-strength
1
Codet Legend
√
Smart and brave
2
Golden cucumber
√
Able to face challenges
3
Magic Porridge
√
Strong and independent
4
The origin of Mount Mangkon
√
Be tough and work hard.
5
Calon Arang
√
Tough and awesome
6
Damar Wulan and Minak Jinggo
√
Tough, smart, and strong
7
The Origin of Tengger and Mount Batok
√
ingenuity
Source: Results Research 2022 (processed)
Based on the review above, this research has advantages when compared with other research
that has been carried out, such as in the folklore entitled Ande-Ande Lumut and Ken Dedes, where it can
be concluded that women's position is under the power of men. Treatment between women and men
in social class This difference includes a woman's voice and desire for a husband; when a man and
woman are in the same social class or a woman's social class is higher than a man, the man will take
the woman's voice and desire into account. However, if a man in a high position wants a woman to
be his wife, the woman's voice and wishes are not taken into account (Rahmawati, 2020). In this
research, we pay more attention to the gender equality experienced by women because of the power
they have. The femininity depicted in the thoughts of female characters focuses more on the context
of women's empowerment in responding to the problems they face.
Based on the review above, this research has advantages when compared with the research
that has been conducted Mali (2022) titled Representation of Feminism in the Novel Dilan Dia is Dilanku
1990 by Pidi Baiq because it has a more complex discussion of women's images. Then there is research
from Putra & Alias (2018) entitled The Image of Wemen in Waindho-Indhodhiyu Folklore in Wakatobi Society,
which focuses on physical image, family, and others, while this research describes the image of women
as creatures with dignity and also the strength that women possess. Lastly, similar research was

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KEMBARA: Jurnal Keilmuan Bahasa, Sastra, dan Pengajarannya | 397
conducted by Windiyarti et al. (2022), entitled The Image of Women in Three Folktales of the North
Coast of East Java.
In this research, the advantage that can be stated is that the femininity shown is a female
character who has an identity and is able to deconstruct herself well so that it can be seen from
behavior and thought patterns that are intelligent, independent, and empowered in life. Thus, this
research has a different focus from previous research, which focused more on physical image and
domestic roles, so that women have less access outside (to the public) with their attached identity.
CONCLUSION
The role of femininity depicted in Indonesian folklore is shown by women's participation in
their existence as social creatures in interacting with the environment. In carrying out her feminine
role, women are shown as empowered characters, so they have an important role in the story. A
strategic role appears when women make decisions for the benefit of themselves and their
environment.
The power of women's femininity in building their self-image as dignified creatures is
represented through their identity, which is able to divide domestic and public roles. The domestic
role can be demonstrated by paying attention to the family with refinement of character. On the one
hand, women have intelligence and ingenuity in formulating strategies when faced with problems.
Apart from that, women have independence and authority when faced with the opposite sex, so the
women in the story are more respected because of the advantages they have.
The implication of this research is that although socio-cultural construction places women as
weak creatures, this does not mean that they cannot do anything. However, women actually have
extraordinary power within themselves because of the identity that is attached to them by nature.
Women can reconstruct themselves well if they always optimize themselves in all aspects of life. In
essence, women and men have differences but should not differentiate between them. This issue of
femininity will raise men's awareness to respect women, who are actually both equal partners who
have the opportunity to build harmonious social construction. In relation to the reader, this research
is a new offer to see clearly the existence of women who have so far been sidelined in many ways.
However, Indonesian folklore offers another perspective that can be used as a correction for women
in identifying themselves.
ACKNOWLEDGMENTS
Gratitude is expressed to the leaders of the Rectorate through the UMM Directorate of
Research and Community Service for providing researchers with the opportunity to complete this
research. We would also thank to our colleagues who have provided input and suggestions, as well as
Fitri Lestari, who was involved in this research.
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