The Mythos of Nyai Roro Kidul and Sea Life as an Inspiration

Alternative to Development the Motifs of Java coast of Batik Story

Telling

Nuning Yanti Damayanti

, Ariesa Pandanwangi

, Belinda Sukapura Dewi

Arleti Mochtar Apin

, and Ayoeningsih Dyah Woelandhary

Institut Teknologi Bandung Jl. Ganesha No.10, Lb. Siliwangi, Coblong, Bandung, Jawa Barat , Indonesia,

Universitas Kristen Maranatha Jl. Surya Sumantri No.65, Sukawarna, Sukajadi, Bandung, Jawa Barat , Indonesia,

3,4

Institut Teknologi Harapan Bangsa Jl. Dipati Ukur No.80-84, Lebakgede, Coblong, Bandung, Jawa Barat, Indonesia,

Universitas Paramadina Jl. Gatot Subroto No.Kav. 97, Mampang Prpt., Jakarta Selatan, DKI Jakarta , Indonesia

ayoeningsih.dyah@paramadina.ac.id

Keywords: batik tells the story, Mythos, Nyai Roro Kidul, Java coastal.

Abstract: Indonesia territory was once called as Tera Incognito, a dream of adventurer through exotic mystical stories

and mysterious beauty. Geographical paradox of land and sea forms character of nation with unique diversity

of tribes and culture patterns philosophy of life that unites two realms, only one nation that calls motherland

the Earth and Sea (Tanah Air). Uniqueness of Indonesian culture colored by myths and legends in treating

paradoxical nature. Imaginative narratives of power dominate land, mountains and oceans, mysthical figures,

legends are fascinating mystically mysterious. Concept of two realms, land with dangerous volcanoes and

mysterious oceans, is reflected in cultural products. Inhabitants of Java have always active played role

influenced history in creation cultural products Indonesian. This paper describes Batik as original technique

of Indonesian ancestral heritage style and variety of textiles, 2009 become as world intangible heritage.

Research focuses on batik motifs storytelling Javanese coastal. Research method uses experiments and

studies to reinterpret Nyai Roro Kidul mythos ruler of southern coastal Java is still trusted today. Aim of

innovation batik motifs storytelling as reintroducing coastal mythos Batik which expected as alternative new

motives of Javanese coast expected to have high economic value.

1 INTRODUCTION

Uniqueness of Indonesian culture coloured by myths

and legends in treating paradoxical nature.

Imaginative narratives of power dominate land,

mountains and oceans, mythical figures, legends are

fascinating mythically mysterious. Concept of two

realms, land with dangerous volcanoes and

mysterious oceans, is reflected in cultural products.

Inhabitants of Java have always active played role

influenced history in creation cultural products

Indonesian.

This paper describes Batik as original technique

of Indonesian ancestral heritage style and variety of

textiles, become as world intangible heritage.

Research focuses on batik motifs storytelling

Javanese coastal. Research method uses experiments

and studies to reinterpret Nyai Roro Kidul mythos

rule of southern coastal Java is still trusted today. Aim

of innovation batik motifs storytelling as

reintroducing coastal mythos Batik which expected as

alternative new motifs of Javanese coast expected to

have high economic value.

The Research tries to develop the inspiration from

the narrative legend of the Queen from South Sea

Coast, name Nyai Roro Kidul and of marine flora

fauna for telling stories batik motifs of coastal areas

in Java, The method used in this study is an

experimental visual approach with new subject

matters/composition/colour/repetitive changes and

study a form of through innovation reinterpreting

Ratu Roro Kidul and marine biota/sea life in the

Damayanti, N., Pandanwangi, A., Dewi, B., Apin, A. and Woelandhary, A.

The Mythos of Nyai Roro Kidul and Sea Life as an Inspiration Alternative to Development the Motifs of Java coast of Batik Story Telling.

DOI: 10.5220/0009982505470554

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 547-554

ISBN: 978-989-758-450-3

547

development of the creation of coastal batik artworks

telling stories. The aim is to enrich coastal motifs

while reintroducing the narrative of coastal legends

through works of art. Conclusion It is hoped that

Batik with the creation of Mitos Nyai Roro Kidul and

the wealth of marine biota will be an alternative to the

new motives of the Javanese coast that have better

economic value. The characteristics of batik art tell a

story from the background of legend myth Nyai Roro

Kidul is an alternative to batik art and Javanese

coastal motifs, that have economic value in the

millennial era.

2 E

NVIROMANT OF

EOGRAPHY

OCIAL AND

ULTURE OF

AVANESE

Indonesia territory was once called as Tera Incognito,

a dream of adventurer through exotic mystical stories

and mysterious beauty. Geographical paradox of land

and sea forms character of nation with unique

diversity of tribes and culture patterns philosophy of

life that unites two realms, Indonesian only one nation

that calls motherland the Earth and Sea (tanah air)

The country of Indonesia is the world's largest

ocean and archipelago regions has a tropical climate

because it is located in Equator between two

continents and the ocean so that it is a very strategic

region, limited by a vast ocean with land and the most

dangerous active volcano in the world. This causes

the country of Indonesia have very fertile land and has

the most beautiful sea garden in the world. Indonesia

is one of the countries with riches ethnic and unique

cultural diversity. This is because ethnics live on

islands that are different from the richness of

terrestrial flora and fauna, and the flora and fauna of

marine.

The wealth of the two worlds has become a force

that has formed the character of the Indonesian people

to become a nation with a philosophy as a maritime

nation. The power of the two realms also causes to be

a nation full of imaginative and creative life building

narratives of mythical and legendary figures of land,

mountains and oceans full of enchanting mystical and

mystical imaginations. The concept of two terrestrial

nature with dangerous volcanoes and a mystery of

sea, this is reflected in its cultural products. Cultural

work visualized on created objects inspired by the

richness of the geographical land and sea

environment of the island nation. Indonesian cultural

products that are very original and have been

recognized as intellectual property representing the

world are textile products decorated with motifs using

Batik techniques.

3 M

YTHOS IN THE

NIVERSAL

CONTEXT

The universal meaning and origin of the word

Mythos, according to historians and sociologists,

mythos originates from the word myth (English) and

muthos (ancient Greece) has meanings about the

beliefs of certain societies as a reference for their

lifestyle. Understanding Mythos according to the

dictionary is a story of traditional society that presents

supernatural things about ancestors or heroism which

are presented in a primordial style through the

perspective of society that is still considered

primitive. (Cottterel & Storm, 2007).

Figure 1: Botticely's Mythos The God of Venus painting

(Wikipedia.org)

Universally the symptoms of heroic stories that

exist in society do occur in almost all parts of the

world, so that it is convincingly linked to an ideal

figure in the story who later becomes Mythos. Mythos

is also understood as a story or fairy tale about the

figure (character) of everything imaginary, meaning

Mythos is something that is not real, imaginary,

fictitious and imaginative but is believed to be existed

by the local community. For people who believe in it,

mythology is considered a real thing and influences

the paradigm and social-society pattern of the society.

Mythos is inherited from a tradition so that

mythology or Mythos is an important thing for people

who still think traditionally and become a part of their

pattern of life. This is reflected in behavior, speech,

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

548

ritual ceremonies, artistic activities and even in the

state administration, all of these are in accordance

with local wisdom derived from the mythology

applied by the ancestors of the community

(regeneration) and still there are those who believe to

be sustainable until now. (Campbell, 1988).

Fundamental change occurred around the 5th century

when humans began to think philosophically about

the meaning of mythology which was originally

considered rational then became irrational. In Europe

philosophical thought refers to the figures of

European philosophers namely Plato, Aristotle,

Socrates who questioned about the universe and

natural phenomena that occur in the environment of

life. This period is believed to be the birth of

philosophy, then gradually Mythos was displaced by

human reason (ratio) and logic (logos). Mythos

eventually became something that was considered

irrational. The definition of mythology is the

knowledge of Mythos, which is a collection of stories

of Mythos. (Bertens, 1996).

4 M

YTHOS AND

YTHOLOGY IN

NDONESIA

The mythology about myth in Indonesia is thought to

have existed since prehistoric times, the Mythos story

was delivered by word of mouth or verbally.

Mythology in the sense of Indonesia is divided into

three understandings, the first is Mythos actually,

where humans try with their imagination to explain

the phenomena of nature / natural forces / mysteries /

mysticism that are associated with Hindu Indian

beliefs begin to influence Indonesian people's

thinking, therefore Mythos in Indonesia often

associated with matters of spirituality, occultation and

mysticism. The terms deity and gods in Indian Hindu

beliefs began to influence the way of thinking of

Indonesian society shifting the imagination of natural

phenomena. Mythos legendary story of Mahabharata

and figures of puppet stories being the role models of

the people of the island of Java which are harmonized

with local beliefs, become stories of Mythos West

Java Wayang Golek, Cirebon Wayang Cepak,

Wayang Kulit Solo and Yogjakarta, Wayang

kamasan Bali. (Adisasmito, Nuning, 2007).

Figure 2. Painting of Nyai Roro Kidul Mythos, by

Basuki Bawono

The second meaning of myths is Folk Story,

which is a human effort to tell important events

concerning people's lives which are conveyed by

word of mouth as well as verbally, often being an

irrational heroic story so that the truth is difficult to

prove. The story of Mythos Indonesia, which is well

known in the public trust in Java, is Nyai Roro Kidul,

who is believed to be the ruler figure of Mythos

Kanjeng Ratu Kidul, who is still trusted by the

Indonesian people about its existence and many more

Mythos and other legends in Indonesia.

Universally the symptoms of heroic stories that

exist in society do occur in almost various parts of the

world, so that it is convincingly linked to an ideal

figure in the story.

The third understanding Mythos is Legend,

usually associated with a great human figure and the

establishment of a place in the area as a justification

for a legend. An example is the Legend of

Sangkuriang which cannot be separated by the name

of Mount Tangkuban Perahu and the city of Bandung

in West Java. During the time of developing mythos

a story in Indonesia was always associated with

mystical and mystical things. This is because human

civilization at that time was still at a mystical level,

they still believed in the existence of magical powers

beyond the power of ordinary people who controlled

nature. The presence or absence of these figures is not

known for certain, only these figures are connected

and become a marker in an area.

5 M

YTHOLOGY IN

USANTARA

ELIEVE

Other mythological creatures that have been known

by almost all Indonesian people are figures of Garuda.

However, in contrast to the Garuda Pancasila form

that we know, this Garuda mythological creature is

the vehicle of Lord Vishnu in Hindu teachings,

namely the form of an eagle-headed human, his body

The Mythos of Nyai Roro Kidul and Sea Life as an Inspiration Alternative to Development the Motifs of Java coast of Batik Story Telling

549

is golden, his face is white and his wings are red.

Garuda is described as dashing and mighty having a

very large body. Another mythology in Kalimantan is

the pride of the people of Kutai, which is

Lembuswana, a creature described as having a lion's

head, eagle wings, elephant trunk, and scaly fish. He

is the ruler of the Mahakam river which lives on the

riverbed as a protector of Kutai. In Cirebon known as

mythological creatures Paksi Nagaliman and Warak

Ngendon imaginative creations of traditional Cirebon

and Semarang communities, the creation of a dragon-

headed creature, a body resembling a tiger shape and

its legs resembling that of a Goat, are typical of the

North Javanese coastal culture.

Figure 3. Traditional painting of the Stylation of the

Paksi Nagaliman, from Cirebon (archivee.ivaa.

online)

6 I

MAGINING

EMORIES AND

MAGES OF

YTHOS

USANTARA

AINTING

Imagine the myth of Nusantara to read, interpret and

reinterpret the existence of Indonesian Mythos in the

archipelago. about the romantic memories of the past,

about the legendary and of the past. Inviting to

observe and look for solutions to the thought of how

the charms of myths and legends have changed their

functions and meanings, from spirituality to the

Godhead naturally familiar with human values and

values of life, then shifting into profane things,

materialist, because of the swift flow of

modernization and due to the development of

information technology in social media.

The decorative narrative style that is still visible is

that the traces of visual art become illustrative and

naturalist narratives in artifacts and forms of art are

typical characters in the Asian region, especially in

Southeast Asia, as well as in Indonesia, especially in

the Java region. The visual style on the temple walls

which undergoes a process of transformation of forms

and media changes is therefore of course a technical

adjustment, when applied to the media of wood,

leather, palm leaves, cloth, and the latest media is

paper, the thing as redline that remains is the

visualization of the narrative illustrative style

(Adisasmito, Nuning 2007).

Figure 4. Motif Batik tells story all the process of planting

rice until harvest, Batik from Cirebon

Figure 5. Motif Batik tells the story of Wewe Gombel Batik

from Semarang

Figure 6. Batik tells the story of the Sunyaragi Palace

Cave as a place Ritual Ceremony, Batik from Cirebon

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

550

Figure 7. Batik tells the story of the Pandawa dan

Panakawan, Batik from Cirebon

Figure 8. Batik tells the story of the Mythos of Timun Mas,

(Awee Art Studio Batik)

Figure 9. Batik tells the story another variant of the Mythos

of Timun Mas, (Awee Art Studio Batik)

Figure 10. Batik tells the story of the Mythos of Jaka Tarub

(Yanmi Art Studio Batik)

Figure 11. Batik Tells Story of the Mythos of Sangkuriang

and Dahyang Sumbi,(Awee Art Studio)

The Batik motifs tell stories narrative about

Mythos and developed by craftsmen and also by

artists in the colonial period, who developed this

technique to various foreign countries. The motifs are

called the Company Motif, because the batik cloth

images are many human figures with decorative

styles and storytelling.

7 T

TORY OF

YAI

ORO

IDUL

Nyai Roro Kidul, written in the old manuscript

"Babad Tanah Djawi", thus spelling the actual written

name of the Babad Tanah Djawi writing. The magical

story of the common people then evolved into a

sacred story that demanded spiritualy accountability

that was eternal. Abadi because according to the

promise, Nyai Roro Kidul will always be in touch

with all Javanese kings of Panembahan Senopati

descendants up to now. The Mythos and Legend

inspired many artists to create mythical-themed

artworks.

Figure 9. Batik painters interpretation of Nyai Roro Kidul

Mythos to Illustrated (by 22Ibu Community Collection)

Some of the constellations that are used are

penceng hut and my guardian. The Bedhaya Semang

The Mythos of Nyai Roro Kidul and Sea Life as an Inspiration Alternative to Development the Motifs of Java coast of Batik Story Telling

551

pattern in dance and costume illustrates the pattern of

war strategy and is firmly impressed.

In its development until now the Bedhaya

Ketawang Dance is still being performed during the

coronation and the commemoration ceremony of the

rise of the throne of Sunan Surakarta. This very

beautiful Queen (ruler) of the Kidul Sea Nyai Roro

Kidul is often associated with a ban on wearing green

clothes on the South coast. Local belief if wearing

green clothes will make the wearer hit by bad luck,

because green is his favorite color, therefore there

should not be anyone who wears these colors along

the southern coast of Java. Logically, the reason

arises because sea water in the southern coast tends to

be green so sinking victims wearing green clothes

will be hard to find.

Whereas another variation of the story of Nyi

Roro Kidul from Sunda is the story of a Sundanese

royal princess who was expelled from the palace

because of her stepmother. Stepmother Ratu Dewi

Mutiara wanted her son to become king, then sent

witchcraft so Dewi Kandita became sick all over her

body and face full of boils. Queen Dewi Mutiara

asked the king to alienate her daughter because her

illness was considered to bring bad luck to the entire

country. The king did not want his daughter to be

rumored throughout the country, he was forced to

agree to the proposal of Ratu Mutiara to send his

daughter out of their country. Dewi Kandita went

wandering and begged for clues that Sanghyang

Kersa would accompany her until she arrived at the

coast of the Southern Ocean, where the magical voice

told her to plunge into the depths of the South Sea.

Figure 10. Arleti’s Interpretation Batik art works about

Nyai Roro Kidul Mithos

Figure 12. Arleti’s Interpretation Batik art works about

Mythos of Nyai Roro Kidul

The narration and illustration of Arleti

Apin,(fig.10) interpreting Javanese mythology based

on Javanese people's beliefs, Kanjeng Ratu Kidul is a

creation of the God of Kaping Telu who fills the realm

of life as Dewi Padi (Dewi Sri) and other natural

goddesses. It is illustrated in a simplified picture of a

female's greenish-yellow face with long hairs

decomposed positioned on the right side of a field

decorated with plants such as grains and various

plants forming like the coastline of the image of the

South Sea of Java. The center area downward extends

from the face boundary to the bottom of the blue field,

a picture of the vast ocean. While the upper left part

of the field is below the purplish decorative abstract

shape. Another interpretation of Arleti Apin about

Nyai Roro Kidul (Fig.11) which depicts a female

figure with natural attributes as symbols of society. In

the legend Nyai Roro Kidul implied knowledge of

maritime and astronomy or astronomy. The pattern is

also applied to the Bedhaya Ketawang Dance

movement related to astronomy, which follows the

pattern of stars (constellations) that are known and

adopted by Javanese people for their daily needs

(determining season, farming, etc.).

Some of the constellations that are used are

penceng hut and my guardian. The Bedhaya Semang

pattern in dance and costume illustrates the pattern of

war strategy and is firmly impressed. In its

development until now the Bedhaya Ketawang Dance

is still being performed during the coronation and the

commemoration ceremony of the rise of the throne of

Sunan Surakarta. This very beautiful Queen (ruler) of

the Kidul Sea Nyai Roro Kidul is often associated

with a ban on wearing green clothes on the South

coast. Local belief if wearing green clothes will make

the wearer hit by bad luck, because green is his

favorite color, therefore there should not be anyone

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

552

who wears these colors along the southern coast of

Java. Logically, the reason arises because sea water

in the southern coast tends to be green so sinking

victims wearing green clothes will be hard to find.

Whereas another variation of the story of Nyi

Roro Kidul from Sunda is the story of a Sundanese

royal princess who was expelled from the palace

because of her stepmother. Stepmother Ratu Dewi

Mutiara wanted her son to become king, then sent

witchcraft so Dewi Kandita became sick all over her

body and face full of boils. Queen Dewi Mutiara

asked the king to alienate her daughter because her

illness was considered to bring bad luck to the entire

country. The king did not want his daughter to be

rumored throughout the country, he was forced to

agree to the proposal of Ratu Mutiara to send his

daughter out of their country. Dewi Kandita went

wandering and begged for clues that Sanghyang

Kersa would accompany her until she arrived at the

coast of the Southern Ocean, where the magical voice

told her to plunge into the depths of the South Sea. It

is said that the seawater of the Southern Ocean

obliterated the boils all over his body, reversing

Figure 12. Ariesa Pandanwangi Works interpretation about

Sea life of Coast of Java

It is Ariesa Pandanwangi (Fig.12) illustrated in a

simplified picture of a Sea Life with grey greenish-

yellow-green red colour of the sea in deep, decorated

with plants such as grains and various plants forming

like the coastline of the image of the South Sea of

Java. The center area downward extends from the

face boundary to the bottom of the earth in water, a

picture of the vast ocean. While the upper left part of

the field is below the purplish decorative abstract

shape.

8 I

MAGINATIVE

ARIATIONS OF

ISUALIZATION

YTHOS OF

YAI

ORO

IDUL AND

OAST

Indonesian Mythos was reinterpreted as an

inspiration for artists in creation works of modern and

contemporary of art. It is hoped that works such as

this can become one of the interesting learning

processes to get to know Mythos and legends whose

contents of teachings and philosophies are

increasingly being eroded by the flow of

modernization. Artists have their own visual language

and uniqueness in expressing and conveying

messages that contain hope. Illustrative narrative

tradition and realism tradition styles even existed in

Indonesia in every mainstream period until of

modernism and even contemporary times.

The teachings and philosophy contained in the

local Mythos-Mythos are increasingly not

understood, especially for children and today's young

generation. The image of Mythos and Legend of Nyai

Roro Kidul can be an inspiration to become a figure

of contemporary legend so that it can offset the entry

of new and foreign heroes / heroes who began to

replace local Mythos.

The Indonesian people have a wealth of stories of

mythology and legend in their culture. Ranging from

Sabang to Merauke various stories about

mythological figures and legendary classic tales in

each region. Mythos Indonesia often has similarities

and differences, the difference being the background

of the geographical environment and the

distinctiveness of the culture of the respective

creators. Indonesian people still believe in legendary

figures and the mythology of sustainability until now,

especially in rural areas, and even now begin to

inspire artists, with new meanings and

reinterpretations in artistic creations. Mythos and

Legend in Indonesia are often associated with

mystical and mystical spirituality. Mythos is inherited

traditionally so that it is important for people who still

think traditionally and become part of their pattern of

life. This is reflected in the behavior of the people

even in the state order, adjusted to the rules or local

wisdom applied by the ancestors of the community

from generation to generation (regeneration).

9 CONCLUSIONS

This is most likely because the Indonesian nation was

brought up by mythology which was realized

The Mythos of Nyai Roro Kidul and Sea Life as an Inspiration Alternative to Development the Motifs of Java coast of Batik Story Telling

553

continuously in oral, written and artifact ways that

spread throughout the Indonesian archipelago

(Nusantara), so that the existence of Mythos became

fundamental in regulating the joints of the social life

of its people, especially in royal period. Universally

the symptoms of the existence of Mythos figures or

legendary figures in society do occur in almost all

parts of the world, so that it is convincingly linked by

an ideal figure in the story, becoming the ideal figure

of Legend / Mythos. Artists respond to the charm of

myths and legends that have changed both function

and meaning, from the occult, mystical and the

spirituality of the Godhead naturally familiar with

human values and values of life, then shifting to being

closer to things that are profane and materialist.

experiments and studies to reinterpret Nyai Roro

Kidul mythos ruler of southern coastal Java is still

trusted today. Aim of innovation batik motifs

storytelling as reintroducing coastal mythos Batik

which expected as alternative new motives of

Javanese coast expected to have high economic value.

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APPENDIX

Internet data source:

https://en.wikipedia.org/wiki/Main/free/Myth

http://ononiha2empat.blogspot.co.id/20013 / 03 /asal-

usul-nias.html Tsunami Tano Niha, March 28, 2005

(http://www.museum-nias.org/sejarah-nias/

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