Dynamics of Industrial Revolution 4.0: Digital Technology Transformation and Cultural Evolution –
Wulandari et al (eds)
© 2021 The Author(s), ISBN 978-1-032-04451-4
Visualization of princess characters in the Wayang comics of Teguh
Santosa for digital graphics development
M.I.P. Koesoemadinata
Telkom University, Bandung, Indonesia
A.Z. Mansoor
Institut Teknologi Bandung, Bandung, Indonesia
ABSTRACT: Women’s issues are frequently brought up within cultural studies and academic discourses in correlation with the patriarchal culture which is still embedded in traditional Javanese
views. Issues that are rarely studied are women’s portrayal in Indonesian comics, especially the
wayang genre that refers to Javanese culture. Wayang art is significant to Javanese culture, along
with its patriarchal ideology. By assumption, that ideology is also reflected in the wayang comics.
Using descriptive qualitative analysis, preceded by aesthetical morphology, this paper discussed
the way a wayang comic artist visualized princess characters. Teguh Santosa was chosen due to
his reputation as an Indonesian comic maestro, along with his sensual visualization of women.
Finally, the kind of sociocultural context with which Teguh perceived women, and the visual translation method he invented, was explored. This will complete understanding on Javanese wayang
adaptations into comics and the possibility of it being realized in digital media.
Keywords: Teguh Santosa, Wayang comics, men, Javanese culture, visualization
1 INTRODUCTION
1.1 Women issues in Javanese culture
Most of Indonesian’s cultural traditions have patriarchal tendencies, including Javanese culture.
Javanese culture frequently puts women as secondary, unequal to men, although women are still
regarded as having honorable values, such as fidelity, obedience, patience, and self-restraint. Those
virtues are not only imposed on women of nobility, but also on peasants (Ariani 2016). A noble
woman always try to bring happiness in her domestic life; there’s a sort of self-identification, even
a fusion, with her husband, where his happiness is also the wife’s happiness. This assumption was
so strong that all Javanese women try hard to make their husbands happy in many ways.
According to Franz Magnis-Suseno, Javanese women are women that follow Javanese traditions
and culture in their daily lives. Their lives are much influenced by the culture that is inherent in
their lives, especially the wayang culture with its various figures as a model. According to Javanese
traditions, an ideal wife must have an attitude like the wayang characters of Kunti and Sinta who are
devoted to their husbands, accept conditions as they are, and are willing to take part in unpleasant
conditions, while reamining patient, loyal, modest, obedient, and skilled (Ariani 2016). Wayang art
as an important part of Javanese culture certainly brings values and traits that are widely embraced
and affect the lives of Javanese people, especially the lives of its women.
1.2 Wayang comics and Teguh Santosa
Wayang genre comics were born during the Indonesian Old Order period as an affirmation
of national identity—as part of the regime’s nationalist political campaign at that time, which
DOI 10.1201/9781003193241-55
293
Wulandari et al (eds)
© 2021 The Author(s), ISBN 978-1-032-04451-4
Visualization of princess characters in the Wayang comics of Teguh
Santosa for digital graphics development
M.I.P. Koesoemadinata
Telkom University, Bandung, Indonesia
A.Z. Mansoor
Institut Teknologi Bandung, Bandung, Indonesia
ABSTRACT: Women’s issues are frequently brought up within cultural studies and academic discourses in correlation with the patriarchal culture which is still embedded in traditional Javanese
views. Issues that are rarely studied are women’s portrayal in Indonesian comics, especially the
wayang genre that refers to Javanese culture. Wayang art is significant to Javanese culture, along
with its patriarchal ideology. By assumption, that ideology is also reflected in the wayang comics.
Using descriptive qualitative analysis, preceded by aesthetical morphology, this paper discussed
the way a wayang comic artist visualized princess characters. Teguh Santosa was chosen due to
his reputation as an Indonesian comic maestro, along with his sensual visualization of women.
Finally, the kind of sociocultural context with which Teguh perceived women, and the visual translation method he invented, was explored. This will complete understanding on Javanese wayang
adaptations into comics and the possibility of it being realized in digital media.
Keywords: Teguh Santosa, Wayang comics, men, Javanese culture, visualization
1 INTRODUCTION
1.1 Women issues in Javanese culture
Most of Indonesian’s cultural traditions have patriarchal tendencies, including Javanese culture.
Javanese culture frequently puts women as secondary, unequal to men, although women are still
regarded as having honorable values, such as fidelity, obedience, patience, and self-restraint. Those
virtues are not only imposed on women of nobility, but also on peasants (Ariani 2016). A noble
woman always try to bring happiness in her domestic life; there’s a sort of self-identification, even
a fusion, with her husband, where his happiness is also the wife’s happiness. This assumption was
so strong that all Javanese women try hard to make their husbands happy in many ways.
According to Franz Magnis-Suseno, Javanese women are women that follow Javanese traditions
and culture in their daily lives. Their lives are much influenced by the culture that is inherent in
their lives, especially the wayang culture with its various figures as a model. According to Javanese
traditions, an ideal wife must have an attitude like the wayang characters of Kunti and Sinta who are
devoted to their husbands, accept conditions as they are, and are willing to take part in unpleasant
conditions, while reamining patient, loyal, modest, obedient, and skilled (Ariani 2016). Wayang art
as an important part of Javanese culture certainly brings values and traits that are widely embraced
and affect the lives of Javanese people, especially the lives of its women.
1.2 Wayang comics and Teguh Santosa
Wayang genre comics were born during the Indonesian Old Order period as an affirmation
of national identity—as part of the regime’s nationalist political campaign at that time, which
DOI 10.1201/9781003193241-55
293