Vol. 22 No. 2, October 2022, pp.

362 – 374
DOI: 10.24071/joll.v22i2.3942
Available at https://e-journal.usd.ac.id/index.php/JOLL/index
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

Culture-based Animation: Inserting Indonesian Local

Culture in Animation Series ‘Si AA’

Tira Nur Fitria

[email protected]
Institut Teknologi Bisnis AAS Indonesia, Surakarta, INDONESIA

Article
Abstract
information
Indonesia offers many opportunities to use local culture’s potential in
producing Indonesian animation. The greatest idea is to make an animation that is Received:
based on the characteristics of traditional or local arts from each region. This 14 December
research analyzes the Indonesian local cultures inserted in the animation series Si 2021
Aa’ created by RANS Animation Studio. This research uses descriptive qualitative
research. The documents are taken from 9 videos of the animation series “Si Aa” Revised:
released in 2020 and 2021. The result analysis shows that there are 12 examples of 16 February
Indonesian local culture in ‘Si Aa” animation series such as 1) Inserting a local 2022
language “Sundanese”, 2) Inserting local story (folklore) of Timun Emas, 3)
Inserting regional Dance “Jaipong”, 4) Inserting regional musical instruments Accepted:
“Angklung”. 5) Inserting regional music instrument “Gamelan”. 6) Telling an 30 April 2022
Indonesian national hero “Kapitan Pattimura”. 7) Showing a palace building
“Keraton”. 8) Inserting regional performing arts “Wayang Suket”. 9) Inserting
regional Performing Arts “Ondel-ondel”. 10) Inserting traditional game “Gangsing”,
11) Inserting local handicraft “Tenun”, 12) Showing tourism place destination in
Maluku, 13) Inserting local custom “Tandur”. Through animation, the creator
conveys the local culture by recognizing and appreciating an Indonesian identity in
their work. Initially, culture-based animation served simply as a means of
Indonesian cultural preservation.

Keywords: animation; culture; local culture; Indonesian local culture; Si Aa’

Introduction communication whose influence can reach all

social segments of society. Films bind
One of the popular entertainment audiences emotionally and have great
facilities for people as audiences is watching aesthetic power.
films. Therefore, nowadays films are not only
for entertainment but can also be a means of One genre of film is cartoon or animated
education as well as a medium to convey films (animation). Alexander (2021) states
certain messages. The film itself is a complex that the animated film industry has been
art form and a unique medium of significantly developed since its inception.
362
 Journal of Language and Literature
Vol. 22 No. 2 – October 2022 ISSN: 1410-5691 (print); 2580-5878 (online)

Cartoons or animated films are one of the Animation and culture influence each
entertainment media currently found on other, there is an element of reciprocity
television and cinema, both domestically and between the two, film influences culture after
internationally. The popularity of animation previously culture is the background for
cannot be separated from the visual style that making a film. The values contained in the
is very attractive to the eyes, with unique and films that are watched affect the reality of life
varied stories, making it easy to enjoy in in society. The film is used as a mirror to look
various circles. On the other hand, animated at or to see how culture works or lives in
entertainment media are films that use society (Sari, 2018). In general, culture is
animation techniques as the medium. meant to be preserved in its status quo,
preserving the status quo of its origins (Omar
Huang (2017) states that with the fast & Ishak, 2011). The culture of a location has
development of the global economy and been utilized as a source of inspiration for
society, animation has gained considerable animation production. In animation, the
attention as an essential factor in the global process of cultural commodification results in
cultural industry. According to (Belkhyr, culture-based animation goods. Initially,
2013), an animation may be seen as a business culture-based animation served simply as a
that commercializes and standardizes cultural means of cultural preservation. However, as it
production. Animation has another significant develops, it becomes a commodity product
aspect that arises from its cultural worth and (Yasa, 2019).
nature, in addition to being a company that
develops, distributes, and sells marketable Indonesia offers many opportunities to
items. use local culture’s potential in producing
Indonesian animation (Sugihartono, 2018).
Animation is a medium that may depict a Wikayanto et al. (2019) define that local
visual phenomenon in its entirety. Animation cultural identity in a country affects how the
is not just an image-driven art, but it also form of animation works in that country. The
depicts motion. Because natural laws do not greatest idea is to make an animation based on
bind an animation to interpret motion, there traditional arts characteristics. While,
are no restrictions on motions that cannot be Widjanarko et al. (2021) state that through
performed in the actual world or captured in a animation, the author wanted to convey that
live-action film. So, in the animation, the preserving this culture was enough by
characterizations may be quite loose and give recognizing, appreciating, seeing, and listening
up a lot of possibilities for investigation to Indonesian identity in their work.
(Ardiyansah, 2012). This makes animation a
popular medium for grabbing the audience’s There are many animation movies or
attention, particularly in the age of digital series that have been released in Indonesia.
animation technology. Animation production One of them is Si Aa’. Through RANS Animation
differs from film production in that it relies on Studio, Rafathar’s daily story is presented in an
various technologies and skills (Yoon & animation entitled Si Aa. This story, it is not
Malecki, 2010). only filled with fictional characters, but the Si
Aa also presents several characters taken from
Animation is being utilized for more than people closest to Rafathar. Funny and
just amusement and has made inroads into adorable, the story of Si Aa with various stories
other industries such as culture. This represents Rafathar’s happy childhood life
statement is supported by Shang (2015) that (Afifullah, 2020). Before airing on ANTV, the
animation scene design is a kind of visual art animated series Si AA aired on Raffi Ahmad’s
that includes not only the creation of the tale’s Rans Entertainment YouTube channel. Si AA’s
background but also the reflection of the animation that airs on ANTV attends several
animation characters and the visual new characters to entertain fans of this
expression of the storyline as time passes. As a animation. Besides Rafathar, Raffi Ahmad, and
result, animated pictures with a national Nagita Slavina, several other characters also
cultural meaning might be loved and enjoyed attract children to watch it.
by audiences worldwide.

363
Journal of Language and Literature
ISSN: 1410-5691 (print); 2580-5878 (online) Tira Nur Fitria

There are several previous studies related Ninth, Tia & Metty (2021) state that Doraemon
to culture in an animation films. The first, is animated film can be a medium for learning
written by Shang (2015). The results reveal Japanese culture. The respondents became
that aspects of Chinese traditional culture, more aware of the cultural terms Genkan,
such as ink painting, paper cutting, Chinese Ofuro, Tatami, Dorayaki, Kotatsu, and Futon.
opera, shadow puppetry, and Chinese
architecture, are used in the creation of Based on previous studies above, shows
animated films. In creating the scene, we may similarities and differences with this research.
use classic ornamental motifs. For example, in All previous studies and this research have the
“Havoc in Heaven,” Lingxiao Hall” and “Peach same focus on culture in animation films or
Garden,” show traditional cultural elements series. In the differences, those studies have
are used. Second, Basid (2016) states that different objects of research related to the
several player characters in the animated movie. The first study focuses on Chinese
series Adit, Sopo, and Jarwo show the traditional culture in Chinese animated films.
Sundanese dialect of Kang Ujang, dangdut, and The second study focuses on multiculturalism
the presence of Warung Tegal. Third, Yasa in Adit, Sopo, and Jarwo series. The third study
(2019) states that animated films like “Mulan” focuses on animated films like “Mulan” about
about Chinese legends, “Kung Fu Panda” about Chinese legends, “Kung Fu Panda” about
kungfu culture, “Upin Ipin” about Malaysian kungfu culture, “Upin Ipin” about Malaysian
culture, “Adit and Sopo Jarwo” and “Knight culture, “Adit and Sopo Jarwo” and “Knight
Kriss” about Indonesian culture, and “Si Uma” Kriss” about Indonesian culture, and “Si Uma”
about Balinese culture were created as a result about Balinese culture. The fourth study
of the commodification of culture. Fourth, focuses on Malaysian local culture in Kampung
Hasri et al. (2020) state that locally generated Boy, Upin dan Ipin, BoBoiBoy, and Ajen Ali. The
products like Kampung Boy, Upin dan Ipin, fifth study focuses on animated Si Entong
BoBoiBoy, and Ajen Ali not only contain global reflects Indonesian and Chinese culture. The
transmedia narrative qualities but also have sixth study focuses on Si Pitung film that
substantial local content relating to Malaysian reflects Indonesian culture, especially local
cultures and values integrated with them. Betawi. The seventh study focuses on Binekon
films representing Indonesian culture. The
Fifth, Sya et al. (2020) state that the eighth study focuses on Knight Kris films
animated film Si Entong through two episodes representing Indonesian culture especially
“Sorry physically and mentally yes” and “Liang Javanese culture. Then, the ninth study focuses
Liong” has reflected pluralism through on Doraemon film as a medium for learning
interactions made by Entong with his friends Japanese culture. The object of this research is
of different ethnicities and cultures through different from those studies. This researcher is
the knowledge component, mindfulness interested to conduct a study about the
(awareness), and skills (ability). Sixth, Ruslan Indonesian animation series “Si Aa” Through
et al. (2021) state that Si Pitung was portrayed RANS Animation Studio, Rafathar’s daily story
as a local Betawi hero who promoted character is presented in an animation entitled Si Aa.
idealism. Subcultural tensions arose in the Now, this animation series is still being aired
story as a result of social cognition, resulting in on TV in Indonesia. Therefore, this research is
heroism based on social imagination. Seventh, to analyze the kind of Indonesian local cultures
Swatriani (2021) states that each character in inserted in the animation series Si Aa’.
Binekon of Belantara Studio’s animation is a
cultural representation of the Indonesian Methodology
archipelago, Sumi from Sumatra, Jabo from
Java, Kale from Kalimantan Island, Sula from This research applies descriptive
Sulawesi Island, and Papu from Papua Island. qualitative research. Aveyard et al. (2011)
Eighth, Bangsawan (2021) states that the state that qualitative research is useful when
elements of Javanese culture in the animated looking for in-depth answers to questions that
film Knight Kris are represented through cannot be answered numerically. In qualitative
scenes, characterizations, setting, background research, statistics are not used; the findings
music, and Javanese ethos and noble values. are descriptive and interpretive. So, the result

364
 Journal of Language and Literature
Vol. 22 No. 2 – October 2022 ISSN: 1410-5691 (print); 2580-5878 (online)

and findings of this research are explained Picture 1. Local Language “Sundanese”
descriptively without using numbers or
statistics.

This research involved documents in

collecting the data as it can be used as the sole
focus for data collection and analysis (Given,
2015). Documentation is one method of
collecting qualitative data by viewing or
analyzing documents made by the subject
himself or by others about the subject a large
Source: RANS Entertainment
number of facts and data are stored in
materials in the form of documentation. Most
Based on picture 1 above, the title of the
of the available data are in the form of written
animation series entitled “Si Aa: Teman
form, but this document can be in the form of
Kembar Baru Di Sekolah Bikin Heboh” which
electronic data such as audio or video. The
be released on 11 December 2020. This story
document used in this research is 10 videos of
begins with the appearance of two twin girls
animation series taken from the YouTube
named Cilla and Celly in Matahari’s class. At
Channel “RANS Entertainment” which can be
minute 01.12, it was seen that they were
accessed on
introducing themselves in front of the class by
https://www.youtube.com/channel/UCvA9_f
using the Sundanese language. This is written
5Lwk-poMynabtrZPg. There are several
in the dialog subtitle “Saya teh Cilla, kalau ini
animation series have analyzed in this
teh Celly”. Kita teh dari Sukabumi" (I am Cilla,
research.
and this is Celly. We are from Sukabumi). This
dialogue shows the local language such as
The method of analyzing data used three
Sundanese used in the dialog uttered by the
concurrent flows of activity: data reduction,
twin girls named Cella and Celly in the
data display, and conclusion (Silverman,
dialogue. They also mention that they are from
2009). In this study, researchers used
Sukabumi. It also shows the name of a city that
animated video images or subtitles, scanned
is located in Indonesia, such as Sukabumi in
material, typed subtitle data, and compiled the
West Java.
data according to the source of information.
Researchers discard unnecessary and
Picture 2. Local Story of Timun Emas
organized data which has been reduced giving
a sharper picture of the observation of the
results is a theme. The researcher presents the
analysis in the form of pictures, figures, tables,
matrices, carts, or graphics so that the data is
organized, and arranged so that will be easier
to understand. Next, the researchers
concluded the result descriptively.

Results and Discussion

Source: RANS Entertainment
This research is to analyze the Indonesian
local cultures inserted in the animation series Based on picture 2 above, the title of the
Si Aa’. Based on the findings, there are several animation series entitled “Si Aa: Dongeng
Indonesian local cultures found in the Timun Mas” which is released on 10 June 2021.
animation series Si Aa’. The examples are as This story begins with a little storyteller
seen in the pictures below: coming to Matahari’s class. Then, the little
storyteller told one of the famous fairy tales
“Timun Mas” by using hand puppets to retell
the story.

365
Journal of Language and Literature
ISSN: 1410-5691 (print); 2580-5878 (online) Tira Nur Fitria

Picture 3. Regional Dance “Jaipong” Scene Picture 5. Regional Music Instrument

“Gamelan”

Source: RANS Entertainment

Source: RANS Entertainment
Based on picture 3 above, the title of the
animation series entitled “Si Aa: Belajar Tari Based on picture 5 above, the title of the
Jaipong” which is released on 15 June 2021. animation series entitled “Si Aa: Belajar
This story begins when a student in Matahari's Kesenian Tradisonal” which is released on 13
class sees a brochure “Jaipong Dance November 2021). The story begins with a
Competition” for Kindergarten children in student who is asked by his teacher to play the
groups. Then some girl students wanted to gamelan. Then suddenly he was in a place
take part in the competition, where the prize where many dancers were dancing to the
for the competition was a year’s worth of accompaniment of gamelan music. Next, there
education savings. The girl students started was a king who met him and took him to the
practicing the Jaipong dance but they had palace to show him various musical
difficulty with the movements. Then they were instruments in the gamelan.
taught by one of the little dancers. Next, they
performed their Jaipong dance in front of their Picture 6. Indonesian National Hero “Kapitan
teachers and school friends, and finally, they Pattimura”
were chosen to represent the school for
Jaipong dance competence.

Picture 4. Regional Musical Instruments

Scene

Source: RANS Entertainment

Based on picture 6 above, the title of the

animation series entitled “Si Aa: Belajar Dari
Keberanian Kapitan Pattimura” which is
Source: RANS Entertainment released on 19 November 2021). This story
begins with Rafathar askes her father why
Based on picture 4 above, the title of the Pattimura appears in money 1000 thousand
animation series entitled “Si Aa: Raffi Jadi Guru rupiahs. His father then tells that Kapyain
Angklung” which is released on 27 March Pattimura., it’s a very famous hero from
2021). This story begins with the teacher of Maluku, he is very meritorious to the people of
Matahari's class who asks his students to Maluku When against the invaders,
practice playing a musical instrument because
of the creation stage next week in class and
they will later perform angklung.

366
 Journal of Language and Literature
Vol. 22 No. 2 – October 2022 ISSN: 1410-5691 (print); 2580-5878 (online)

Picture 7. Palace Building “Keraton” Based on picture 9 above, the title of the
animation series entitled “Si Aa: Ondel-Ondel
Pak Oyoy” which is released on 11 February
2021). This story begins when the children are
frightened when they see something scary, and
Mr. Oyoy says that it is not a ghost but Ondel-
ondel. Mr. Oyoy told about the history of
Ondel-ondel. Then some children played with
it.

Picture 10. Traditional Game “Gangsing”

Source: RANS Entertainment

Based on picture 7 above, the title of the

animation series entitled “Si Aa: Belajar
Kesenian Traditional” which is released on 13
November 2021). This story begins with
Rafathar meeting with a king then and taking
him to the palace. As we see in that the picture
shows a traditional palace or Kraton.

Picture 8. Regional Performing Arts “Wayang Source: RANS Entertainment

Suket”
Based on picture 10 above, the title of the
animation series entitled “Si Aa: Perang
Gangsing” which is released on 9 March 2021).
This story begins when children want to battle
in playing Gasing. They play it during break
time, then they continue after school.

Picture 11. Local Handicrafts “Tenun”

Source: RANS Entertainment

Based on picture 8 above, the title of the

animation series entitled “Si Aa: Belajar
Kesenian Tradisonal” which is released on 13
November 2021). This story begins with the
king inviting Rafathar to look around the
palace. The king said if children want to be
puppeteers, they can study at the palace. Then
Rafathar saw two men playing Wayang Suket. Based on picture 11 above, the title of the
animation series entitled “Si Aa: Belajar Dari
Picture 9. Regional Performing Arts “Ondel- Keberanian Kapitan Pattimura” which is
ondel” released on 19 November 2021). This story
begins when Rafathar’s family goes on
vacation to Ambon, Maluku. When they got
there, they were greeted and wrapped in a
typical woven cloth “kain tenun” from Maluku.

367
Journal of Language and Literature
ISSN: 1410-5691 (print); 2580-5878 (online) Tira Nur Fitria

Picture 12. Tourim Destination in Maluku Ke Jakarta Pada Masa Lalu” which is released
on 6 November 2021). This story begins when
Rafathar’s mom says that the plants planted in
Indonesian soil can thrive. For example,
planting rice, cloves, coconut and is rich in
marine products. It makes other nations
jealous. This made Rafathar imagine how
Indonesia used to be.

Indonesia is a rich country. Not only in

terms of natural resources but also in cultural
Based on picture 12 above, the title of the diversity. The area that stretches from Sabang
animation series entitled “Si Aa: Belajar Dari to Merauke makes it an extraordinary
Keberanian Kapitan Pattimura” which is Indonesian cultural diversity. This diversity
released on 19 November 2021). This story triggers the motto Bhineka Tunggal Ika which
begins when Rafathar’s family goes on means different but still one. Despite various
vacation to one of the destination tourism ethnic groups, cultures, religions, and groups,
places (beach) in Ambon, Maluku. The picture Indonesia is still one unit. The motto, which
shows that the scene takes location in Ora comes from the Old Javanese language,
Beach Maluku. confirms that the diversity that exists in our
country is the wealth and beauty of the
Picture 13. Local Custom “Tandur” Indonesian nation that other countries do not
have. Indonesia has several forms of cultural
diversity that characterize each region, such as
traditional houses, traditional ceremonies,
traditional clothes, dances, musical
instruments and songs, national weapons,
special foods, etc.

In the animation series entitled “Si Aa”, it is

found there are several Indonesian local
cultures appear and displayed in the scenes or
dialogues as stated in the table below:
Based on picture 13 above, the title of the
animation series entitled “Si Aa: Petualangan

Table 1. Indonesian Local Cultures in “Si Aa” Animation Series

No Time Released Title of Animation Series Local Culture

1. 11 December 2020 “Si Aa: Teman Kembar Baru Di Sekolah Local Language “Sundanese”
Bikin Heboh”
2. 10 June 2021 “Si Aa: Dongeng Timun Mas” Local Story of Timun Emas
3. 15 June 2021 “Si Aa: Belajar Tari Jaipong” Regional Dance “Jaipong”
4. 27 March 2021 “Si Aa: Raffi Jadi Guru Angklung” Regional Musical Instruments
“Angklung”
5. 13 November 2021 “Si Aa: Belajar Kesenian Tradisonal” Regional Music Instrument
“Gamelan”
6. 19 November 2021 “Si Aa: Belajar Dari Keberanian Kapitan Indonesian National Hero
Pattimura” “Kapitan Pattimura”
7. 13 November 2021 “Si Aa: Belajar Kesenian” Palace Building “Keraton”
8. 13 November 2021 “Si Aa: Belajar Kesenian Tradisonal” Regional Performing Arts
“Wayang Suket”
9. 11 February 2021 “Si Aa: Ondel-Ondel Pak Oyoy” Regional Performing Arts
“Ondel-ondel”
10. 9 March 2021 “Si Aa: Perang Gangsing” Traditional Game “Gangsing”

368
 Journal of Language and Literature
Vol. 22 No. 2 – October 2022 ISSN: 1410-5691 (print); 2580-5878 (online)

No Time Released Title of Animation Series Local Culture

11. 19 November 2021 “Si Aa: Belajar Dari Keberanian Kapitan Local Handicrafts “Tenun”
Pattimura”
12. 19 November 2021 “Si Aa: Belajar Dari Keberanian Kapitan Tourism place destination in
Pattimura” Maluku
13. 6 November 2021 “Si Aa: Petualangan Ke Jakarta Pada Masa Local Custom “Tandur”
Lalu”

Based on the table above, it shows that unique and humane characters to differentiate
there are several Indonesian local cultures in between human beings and other creatures.
‘Si Aa” animation series such as 1) Local
Language “Sundanese”, 2) Local Story 2. Local Story (folklore) of Timun Emas
(folklore) of Timun Emas, 3) Regional Dance
“Jaipong”, 4) Regional Musical Instruments As we can see in the findings above, the
“Angklung”. 5) Regional Music Instrument character tells the story of Timun Mas. The
“Gamelan”. 6) Indonesian National Hero local Story (folklore) of Timun Emas and the
“Kapitan Pattimura”. 7) Palace Building Giant is from Central Java. Timun Mas looks at
“Keraton”. 8) Regional Performing Arts the elements forming culture in the story plot.
“Wayang Suket”. 9) Regional Performing Arts It can be interpreted as elements and cultural
“Ondel-ondel”. 10) Traditional Game values of the Javanese people as collective
“Gangsing”, 11) Local Handycraft “Tenun”, and owners contained in the story. In the Timun
12) Tourism Destination in Maluku. The Mas story, women have a very important role
descriptions are as follows: important, the main characters in this story
are women, which implies that in the cultural
1. Local Language “Sundanese” characteristics of the Indonesian people, and
Java, in particular, Women are considered to
As we can see in the findings above, the have an important role in life.
characters in the animation series ”Si Aa” use
Sundanese language in the dialogue both in 3. Regional Dance “Jaipong”
conversation with her twin or with other
friends. While others use Indonesian. The As we can see in the findings above, the
characters retold from Sukabumi. Here, the characters in the animation series ”Si Aa”
characters often say “teh” and “mah”. The word dance Jaipong. The characters’ costumes and
“teh” and “mah”. Sundanese has meaning in movements are similar to the origin. Jaipong is
affirming particles. In Sundanese, the a regional dance from West Java. The costumes
affirming/reinforcing particle is known as or clothes used in this jaipong dance generally
kecap panganteb. This particle works as a focus wear a kebaya with bright colors and the
marker. The focus markers “teh” and “mah” are subordinates in the form of jarit cloth with
particles that speakers of the language use batik motifs. The size of a costume usually
very often Sundanese in everyday wears a loose size, especially at the bottom
conversation. However, the use of these three because it has to be adapted to lively and
particles in the sentence must be low or fit, so dynamic movements. At the head, the dancers
it doesn’t seem forced. Sundanese is spoken by usually wear a bun that is beautified with
people living in the western part of Java Island, decorations such as crowns and flowers to add
especially in West Java. It shows that language to the beauty and elegance of the dancers. The
diversity (multilingualism) cannot be waist is usually also equipped with a scarf,
separated from cultural diversity which is also used as a dance accessory to look
(multiculturalism). In terms of culture, more elegant. Various kinds of regional dances
language is a cultural aspect, the wealth of and their origin are mandatory knowledge to
language is something beneficial (Devianty, recognize the diversity of Indonesian culture.
2017). The various languages will reflect the The art of dance is an expression of the soul in
cultural richness that exists in the user the form of motion with a certain
community (multicultural). Language shows accompaniment. Movement in dances always
has value and is different from everyday

369
Journal of Language and Literature
ISSN: 1410-5691 (print); 2580-5878 (online) Tira Nur Fitria

movements. Every kind of regional dance that Kempyang, Kethuk, Saron, Gender, Slenthem,
exists, must have different characteristics as Kemanak, Cemplung.
well as their meaning.
6. Indonesian National Hero “Kapitan
4. Regional Musical Instruments Pattimura”
“Angklung”
As we can see in the findings above, the
As we can see in the findings above, the character in the animation series ”Si Aa tells
characters in the animation series ”Si Aa” play about Kapitan Pattimura. Pattimur or known
Angklung. Angklung is from West Java. This as Kapitan Pattimura is a national hero from
musical instrument was confirmed as a world Maluku (Syahrir, 2020). He has the real name
cultural heritage native to Indonesia by Thomas Matulessy from the Matulessia family
UNESCO (United Nations Educational, (Matulessy). Pattimura’s courage and
Scientific and Cultural Organization) in 2010. determination inspire and become an example
Angklung is included in the group of for the next generation. Pattimura was willing
instruments that, in terms of music, are called to sacrifice his life for the sake of the
idiophones, instruments whose body itself Indonesian nation.
emits sounds or tones when we touch or hit
them. Angklung is made of bamboo, which is 7. Palace Building “Keraton”
played by vibrating or shaking it to produce a
distinctive sound in the composition of two, As we can see in the findings above, the
three, and up to three tones. four tones in every character in the animation series ”Si Aa” visits
size, both large and small. How to play the palace. Keraton (Javanese: Kraton or
Angklung is easy. One hand holds the angklung Karaton) is an area where a ruler (king or
frame and the other shakes the bottom of the queen) rules or where he lives (palace). The
angklung to produce sound. There are three shape of the roof of the palace building is
basic techniques for playing it, namely usually in the form of a pyramid. Apart from
kalurung (vibrated), centak (jerked), and being the queen's residence, the Kraton, or
tengkep (vibrating one tube while the other palace also functions as a cultural center and
tube is held so that it does not vibrate). the center of government for the king or sultan
on the island of Java. Just like a house, a palace
5. Regional Music Instrument “Gamelan” or palace consists of several parts of a building
or place that have different functions, often
As we can see in the findings above, the philosophical, cultural, and religious
characters in the animation series ”Si Aa” play meanings. The development of Islamic
Gamelan. Gamelan is the root of Javanese influence in the archipelago can also be seen in
culture. Philosophically, gamelan is identical to its very diverse relics.
the Javanese way of life. Gamelan is the root of
Javanese culture. Philosophically, gamelan is 8. Regional Performing Arts “Wayang
identical to the Javanese way of life. In Suket”
Javanese society, gamelan has an aesthetic
function related to social, moral, and spiritual As we can see in the findings above, the
values. In short, gamelan is an inseparable part characters in the animation series ”Si Aa” play
of Javanese life. Gamelan is an ensemble or Wayang Suket. Wayang is one of the various
combination of several musical instruments, cultural heritages of the past in Indonesia.
such as the xylophone, drum, and gong. This Wayang is one of the cultural arts that stands
combination has a non-diatonic tone system out among many other cultural works. In the
that delivers a beautiful sound when played in scene, it appears of Wayang Suket. One of the
harmony. Over time, the Javanese Gamelan diversity of Indonesian wayang is the “Wayang
stood alone as a musical performance Suket”, which is an imitation of a shadow
complete with singers named Sinden. Gamelan puppet figure, only made of grass or suket in
consists of instruments, namely Gendang, Javanese.
Gong, Suling, Bonang, Siter, Rebab, Kempul,

370
 Journal of Language and Literature
Vol. 22 No. 2 – October 2022 ISSN: 1410-5691 (print); 2580-5878 (online)

9. Regional Performing Arts “Ondel- that are a heritage of Indonesia’s cultural

ondel” wealth. One of the traditions that have been
passed down from generation to generation by
As we can see in the findings above, the the people of Maluku, is the activity of making
characters in the animation series ”Si Aa” see weaving. This cloth is also usually used for
and play Ondel-Ondel. Ondel-Ondel is in the hanging for every important guest who comes
form of a giant doll made of woven bamboo to Maluku. Moluccan woven cloth does have its
and decorated with human-like clothes and philosophical meaning. The production
accessories. In the show, this doll is moved process of this woven fabric also does not use
from the inside by someone who is usually a modern tools. Traditional spinners use cotton
boy because of a fairly heavy load. It has been threads, and the coloring does not use artificial
passed down from generation to generation, dyes but natural dyes derived from wood roots
this culture contains symbols and deep and leaves. This woven fabric is made with a
meanings. The red male Ondel-Ondel mask simple principle: combining threads
means that men must be brave and brave, lengthwise and transversely. Most of the
while the women’s mask means that they must existing woven fabrics are dominated by
maintain chastity. The coconut flowers on the stripes and interspersed with certain patterns
Ondel-Ondel head mean strength. The coconut adapted from the natural surroundings, such
tree has strong roots that can utilize all as animal motifs, plant motifs, and human
elements of its body. motifs.

10. Traditional Game “Gangsing” 12. Tourim Destination in Maluku

As we can see in the findings above, the The character in the animation series ”Si
characters in the animation series ”Si Aa” play Aa” visit one of the tourist places on the beach
Gasing. Gasing is one of the traditional games in Maluku. Tourism has a close relationship
in Indonesia, Traditional games are part of the with certain elements, such as culture, the
variety of cultures that grow in Indonesia. environment, sustainable development, the
Before the onslaught of technological impact of tourism on the environment, and
developments emerged, various traditional social impacts. Culture significantly affects
games had colored the lives of Indonesian tourism in the future. Tourism is a
children. The appearance of the top also combination of products and service products.
depends on the area of origin. Some are oval, Both are interconnected, needed, and
some are shaped like hearts, cones, and produced by tourism. Tourism activities
cylinders, and some are shaped like flying require interaction between tourists as service
saucers. The top consists of the head, body, and users and hosts as service providers. In the
legs (axis). However, the top's shape, size, and reality of social life, one form of culture cannot
section vary according to each region. be separated from other forms of culture.
Traditional games as the nation’s cultural Trying to highlight an attraction to trigger
heritage that are popular and still played in tourists to the uniqueness of cultural tourism
various regions until now are one of the has a close relationship with certain elements
elements of national culture still alive and such as culture, environment, sustainable
developing in every region in Indonesia. This development, the impact of tourism on the
means that in advancing national culture, we environment, and social impacts. Culture can
must not ignore the existence and life of be a very interesting object for every ethnic
traditional games, as elements of regional community.
culture, which will color the personality and
enrich the national culture. 13. Local Culture ”Tandur”

11. Local Handycraft “Tenun” As we can see in the findings above, the
characters in the animation series. One
As we can see in the findings above, the example of Javanese science is tandur
characters in the animation series ”Si Aa” (planting rice). Tandur is simply an
wears Tenun. Maluku also has many traditions abbreviation of Tanam Mundur, which is a way

371
Journal of Language and Literature
ISSN: 1410-5691 (print); 2580-5878 (online) Tira Nur Fitria

of growing rice that has become a habit for preserving community culture, both cultural
farmers in Indonesia. The rice seeds are objects that are increasingly marginalized and
planted one by one at a certain distance by the the culture of the community that still exists.
farmer while walking backward. Planting rice
is not just planting rice seeds in the ground, Conclusion
after that it’s done. It’s not that simple
according to Javanese knowledge. Tandur is a There are several Indonesian local
life practice, which in each part or series has its cultures found in ‘Si Aa” animation series such
meaning or wisdom. Tandur as a tradition of as the use of Local Language “Sundanese”,
planting rice also has a philosophy or meaning, Local Story (folklore) of Timun Emas, Regional
namely backward to move forward, everything Dance “Jaipong”, Regional Musical Instruments
has size, simplicity, humility, and hard work. “Angklung”, Regional Music Instrument
The great philosophies of our ancestors all “Gamelan”, 6) Indonesian National Hero
have strong meanings and symbols. “Tandur” “Kapitan Pattimura”, Palace Building
simple activity turned out to be a very deep “Keraton”, Regional Performing Arts “Wayang
philosophy. Suket”, Regional Performing Arts “Ondel-
ondel”, Traditional Game “Gangsing”, 11) Local
Animated films are known to the public Handycraft “Tenun”, and 12) Tourism
today and their existence is increasingly Destination in Maluku.
growing in the market. The positive
development of this animation inspires some The animated film industry in Indonesia
producers and culturalists to preserve their cannot be underestimated. Reliable animators
particular traditional culture that is began to rise and produce proud works. The
increasingly marginalized. Animation can be Indonesian film industry is currently not
considered an appropriate and effective behind other countries. One of them, the
medium to introduce one country's culture to animated film industry, is increasingly
another. The animation that raised culture as a showing progress. Suppose the many existing
notion of creation was restricted to preserving cultures of society, especially traditional
and presenting culture to the public before it culture that is increasingly being abandoned
became a commodity. As the public responds by the community are revitalized into the
favorably to culture-based animation, it media animation and are displayed with a
evolves into a product, a company, and an sufficient portion on television and media. In
endeavor to conserve culture. Local cultural that case, it will positively impact and become
elements in Indonesian animation can be seen a habitus in society. Local animation creators
as more the creator’s efforts in should Indonesia multiply to include
representing/reconstructing all forms of Indonesian cultural identity into the work
cultural identity in Indonesia as a reflection of animation to form a perception about the
reality in the world really that settles in his characteristics of Indonesian animation in the
memory into animated film media. minds of more domestic and foreign animation
audiences broader in the future.
Every artwork created by Humans is a
reflection of the culture that is around it. This
representation allows humans to shape their
character and identity alone while still
preserving the culture local as the main
influence. If pulled into the realm of animation,
it can be said that every animation creator will
carry an identity culture to a certain degree in
each animation work as a form of existence
representation of the surrounding culture. In
other words, each animation reflects the
effects of the cultural situations in which the
animation was made. Animated films can be
used as inspiration for revitalizing or

372
 Journal of Language and Literature
Vol. 22 No. 2 – October 2022 ISSN: 1410-5691 (print); 2580-5878 (online)

References Omar, M. A. M., & Ishak, M. S. A. (2011).

Understanding Culture through
Afifullah, I. (2020, December 19). 10 Video Animation: From the World to Malaysia.
Animasi Rafathar dalam Kisah Si Aa. IDN Jurnal Pengajian Media Malaysia, 13(2),
Times. 1–9.
https://www.idntimes.com/hype/entert Ruslan, A., Karlinah, S., Hidayat, D. R., &
ainment/iip-afifullah/video-animasi- Kuswarno, E. (2021). Discourse and
rafathar-dalam-kisah-si-aa-c1c2 Identity in the Indonesian Short
Alexander, O. (2021). Tutorial Membuat Animation “Si Pitung.” Review of
Animasi 2D & 3D Menggunakan Aplikasi International Geographical Education
Blender. Media Sains Indonesia. Online, 11(5), 149–158.
Ardiyansah, A. (2012). Film Animasi sebagai Sari, N. P. M. (2018). Representasi Nilai-Nilai
Medium Dokumentasi Kekayaan Alam, Kebudayaan Jepang Dalam Film Animasi
Intelektual, Budaya, dan Dinamika Sosial Spirited Away (Analisis Semiotika Charles
Politik. Humaniora, 3(2), 668–677. Sanders Peirce) [Undergraduate Paper,
https://doi.org/10.21512/humaniora.v3i Universitas Mercu Buana Jakarta].
2.3411 https://repository.mercubuana.ac.id/41
Aveyard, H., Sharp, P., & Woolliams, M. (2011). 248/
A Beginner’s Guide to Critical Thinking Shang, L. (2015). The Application of Chinese
and Writing in Health and Social Care. Traditional Culture in the Animation Scene
McGraw-Hill Education (UK). Design. 511–514.
Bangsawan, A. (2021). Representasi Budaya https://doi.org/10.2991/icelaic-
Jawa Pada Film Animasi “Knight Kris.” 15.2016.131
Artika, 5(1), 53–64. Silverman, D. (2009). Doing Qualitative
https://doi.org/10.34148/artika.v5i1.39 Research. SAGE.
6 Sugihartono, R. A. (2018). Developing
Basid, A. (2016). Pesan Multikultural Dalam Indonesian Animation Based on Local
Serial Film Animasi Anak Adit, Sopo, Dan Culture. Bandung Creative Movement
Jarwo. Penamas, 29(3), 493–504. (BCM), 4(1), Article 1.
Belkhyr, S. (2013). Disney Animation: Global https://openlibrarypublications.telkomu
Diffusion and Local Appropriation of niversity.ac.id/index.php/bcm/article/vi
Culture. Études Caribéennes, 22, Article ew/5889
22. Swatriani, R. (2021). Representasi Budaya
https://doi.org/10.4000/etudescaribeen Nusantara Dalam Animasi Binekon.
nes.5863 Narada : Jurnal Desain dan Seni, 7(3),
Devianty, R. (2017). Bahasa Sebagai Cermin 287–306.
Kebudayaan. Jurnal Tarbiyah, 24(2), https://doi.org/10.22441/narada.2020.v
Article 2. 7.i3.001
https://doi.org/10.30829/tar.v24i2.167 Sya, M., Marta, R. F., & Hadi, I. P. (2020).
Given, L. M. (2015). 100 Questions (and Refleksi Pluralisme Melalui Film Animasi
Answers) About Qualitative Research. Si Entong Sebagai Identitas Budaya
SAGE Publications. Indonesia. Jurnal Riset Komunikasi
Hasri, U. H. M., Syed, M. A. M., & Runnel, C. (JURKOM), Volume(No 1 (), 18–33.
(2020). Transmedia storytelling in the Syahrir, A. (2020). Cerita Kepahlawanan
Malaysian animation industry: Kapitan Pattimura (Maluku). Alprin.
Embedding local culture into Tia, M., & Metty, S. (2021). Film Animasi
commercially developed products. Doraemon Sebagai Media Pembelajaran
Atlantic Journal of Communication. Budaya Jepang. Prosiding Seminar Hasil
https://www.tandfonline.com/doi/abs/1 Penelitian Semester Ganjil 2020/2021,
0.1080/15456870.2020.1835909 8(1), 62–75.
Huang, Y. (2017). Study on the Transmission of Widjanarko, K. C., Kartika, R., & Sasongko, H.
Japanese Animation Culture. 530–533. (2021). Visual communication design of
https://doi.org/10.2991/icemeet- “Voorspel” short film animation. IOP
16.2017.111 Conference Series: Earth and

373
Journal of Language and Literature
ISSN: 1410-5691 (print); 2580-5878 (online) Tira Nur Fitria

Environmental Science, 729(1), 012053.

https://doi.org/10.1088/1755-
1315/729/1/012053
Wikayanto, A., Grahita, B., & Darmawan, R.
(2019). Unsur-Unsur Budaya Lokal dalam
Karya Animasi Indonesia Periode Tahun
2014-2018. Rekam: Jurnal Fotografi,
Televisi, Animasi, 15(2), 83–102.
https://doi.org/10.24821/rekam.v15i2.3
003
Yasa, G. P. P. A. (2019). Culture-Based
Animation: Commodification Practices
and Culture Preservation. International
Conference on Cultural Studies, 2, 115–
119.
Yoon, H., & Malecki, E. J. (2010). Cartoon
planet: Worlds of production and global
production networks in the animation
industry. Industrial and Corporate
Change, 19(1), 239–271.
https://doi.org/10.1093/icc/dtp040

374