FR-UBM-9.1.1.9/V0.

R4

Journal of English Language and Culture

Versi Online: http://journal.ubm.ac.id/ Vol. 13 (No. 2) : 114 – 124. Th. 2023
Hasil Penelitian p-ISSN: 2087-8346
e-ISSN: 2597-8896

THE CULTURAL IDENTITY OF NUSANTARA IN A MOVIE

“RAYA AND THE LAST DRAGON”
Nirwana*
English and Literature Department, UIN Alauddin Makassar

Received on 29 September 2022 / Approved on 28 April 2023

ABSTRACT

Raya and the Last Dragon is an animated movie with an adventure theme from Walt Disney Studio
which was released in 2021. This movie tells the adventures of a character named Raya who lives onhis
birthland named Kumandra. Raya begins her journey to find the last dragon named Sisu to help her defeat an
enemy from darkness named Druun and unite the Kumandra again. In this movie, you can see the design aspects
of local wisdom, background, culture, life values and tradition that are still strong and are very authentic and
related to the daily life of people in Southeast Asia and one of them contains aspects of Indonesian culture.
Therefore, this movie has norms values that reflect the identity of the Indonesian nation in the Southeast Asia
region. This study aims to find out how the role of Southeast Asian culture is formed and influences the people
in assessing Southeast Asian culture, especially culture from Indonesia. The research method was a grounded
theory approach and the data is taken from the scene of the movie. The research results show that there are
cultural elements that are shown through the values in the Movie Raya and The Last Dragon in the form of
character design, asset design and background. These assets are able to build the people’s perception of the
culture of Southeast Asia and Indonesia.
Keywords: Cultural identity; Nusantara movie; Raya and the Last Dragon

ABSTRAK

Raya and the Last Dragon merupakan film animasi bertema petualangan dari Walt Disney Studio yang
dirilis hampir setahun yang lalu. Film ini menceritakan petualangan seorang tokoh bernama Raya yang tinggal
di tanah kelahirannya bernama Kumandra. Raya memulai perjalanannya untuk menemukan naga terakhir
bernama Sisu untuk membantunya mengalahkan musuh dari kegelapan bernama Druun dan menyatukan
kembali Kumandra. Dalam film ini, Anda dapat melihat desain aspek kearifan lokal, latar belakang, budaya,
nilai-nilai kehidupan dan tradisi yang masih kuat yang sangat otentik dan terkait dengan kehidupan sehari-hari
masyarakat di Asia Tenggara dan salah satunya mengandung aspek budaya Indonesia. Oleh karena itu, film ini
memiliki nilai-nilai norma yang mencerminkan identitas bangsa Indonesia di kawasan Asia Tenggara.
Penelitian ini bertujuan untuk mengetahui bagaimana peran budaya Asia Tenggara terbentuk dan
mempengaruhi masyarakat dalam menilai budaya Asia Tenggara, khususnya budaya dari Indonesia. Metode
penelitian yang digunakan adalah pendekatan teori grounded dan tahapan dalam pengumpulan data yang
digunakan adalah metode kualitatif. Dari metode tersebut, hasil penelitian menunjukkan bahwa terdapat unsur-
unsur budaya yang ditampilkan melalui nilai-nilai dalam film Raya and The Last Dragon berupa desain
karakter/tokoh, desain aset dan latar belakang. Aset-aset tersebut mampu membangun persepsi masyarakat
terhadap budaya Asia Tenggara dan Indonesia.
Kata Kunci: film identitas budaya; film Nusantara; Raya and the Last Dragon

INTRODUCTION this area are identified as people of Malay

descent. The Southeast Asian region is divided
Southeast Asia is a region located in into two groups, including Mainland Southeast
the Southeast Asian continent. people living in Asia and Southeast Asian waters. ASEAN

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Versi Online: http://journal.ubm.ac.id/ Vol. 13 (No. 2) : 114 – 124. Th. 2023
Hasil Penelitian p-ISSN: 2087-8346
e-ISSN: 2597-8896

(Association of Southeast Asian Nations) is an land named Kumandra. She traveled because
international organization founded by he was looking for the last dragon left to
southeast Asian countries with the aim of defeat the enemy and uniting the divided land
maintaining the stability of each country, of Kumandra. In this movie, the viewers can
ASEAN consists of eleven countries including see many elements including background
Thailand, Myanmar, Cambodia, Vietnam, elements, building forms, life values,
Laos , Indonesia, Malaysia, Philippines, community habits, and tradition that are
Singapore, Brunei Darussalam and Timor closely related to the daily lives of people in
Leste . Southeast Asian people are often called the Southeast Asian region, especially
Malays because they have cultural and Indonesia. This study intends to examine how
physical similarities. This similarity is due to Indonesian cultural identity is formed and
the influence brought by the Arabs, Chinese, influences the views of many people in
Europeans and Indians, at that time there was assessing Southeast Asian culture, especially
trade in the coastal areas of Southeast Asia. Indonesia. The author analyzes scene by scene
Indonesia is located on the equator, in the Movie Raya and The Last Dragon using
this makes the country of Indonesia get identity theory by Jane Batkin. The storyline
sunlight throughout the year and makes its of this movie is the journey of the main
weather have a warm temperature. Indonesia character named Raya in a prosperous land
consists of approximately seventeen thousand named Kumandra. The land of Kumandra is
islands, this ensures that various organisms, the place where humans used to live side by
both orgasmic that can live in land and water side with dragons who had magical powers.
areas, live, grow and develop very well, while And then one day a tragedy occurred that
making Indonesia a mega biodiversity country caused conflict and division among humans.
together with Brazil and Zaire. Indonesia's This triggers another problem, that is the
biological wealth is a combination of the emergence of a scary monster from the bottom
biodiversity of Asia and Australia (Walujo, of the darkness named Druun who brings a
2011). terrible plague. The plague is very deadly for
Indonesia's cultural diversity is rooted every creatures especially for humans, if the
in various kinds of local cultures that continue plague monster attacks humans that humans
to grow and develop within the scope of their who are affected by the plague will instantly
communities. The emergence of cultural turn to stone. Only the dragons can defeat
diversity is the result of the visible influence of them, but when humans need a savior, they
the reflection of its role in society so that suddenly disappear. The adventure begins with
culture is created by itself. From time to time, the scene where Raya the main character goes
cultural development has a function and role to on a journey to find the last dragon with the
increase the spirit of nationalism. therefore, hope and goal of the dragon being able to help
local culture has social norms that need to be him reunite the divided Kumandra and save
applied by every Indonesian citizen. From this and restore humans who have turned to stone.
diversity, it is possible to bring up to an The role of this research is only as an
unparalleled variety of Indonesian cultural additional reference regarding the study of
diversity, the results created from that culture various Asian and non-Asian films for
are visualized in various forms including scientific studies. This research also tries to
traditional houses, traditional ceremonies, convey to the readers about their own cultural
religious rituals, traditional clothes, traditional identity (H Kara, 2014).
dances, musical instruments and traditional
songs, traditional weapons, even special foods
that reflect Indonesian culture (Susanto, 2016). RESEARCH METHODOLOGY
The animated Movie Raya and The
Last Dragon tells the story of the adventures of The qualitative method was chosen in
a character named Raya who was born in the this study. Qualitative research is an inquiry

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E-mail: misswana1@gmail.com
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Versi Online: http://journal.ubm.ac.id/ Vol. 13 (No. 2) : 114 – 124. Th. 2023
Hasil Penelitian p-ISSN: 2087-8346
e-ISSN: 2597-8896

strategy that emphasizes the search for (worshipping using incense) given to the
meaning, understanding, concepts, holy spirit, at minute 00 : 23 : 43.
characteristics, symptoms, symbols, and 6. Design assets in the form of a traditional
descriptors about a phenomenon; multi- house called Rumah Gadang from
method focus, natural and holistic, prioritizing Minangkabau in West Sumatra, at
quality, using several methods and presented minute 00 : 52 : 22.
in a narrative (Henricus Suparlan et al., 2015). 7. The design depiction of the main
Presentation of data begins by character named Raya and his friend
identifying important elements in the film named Tuk Tuk who is a pangolin, at
Raya and The Last Dragon which includes the minute 00 : 21 : 17.
selection and use of character designs, 8. A dagger-shaped sword from Indonesia
backgrounds, and any values and norms called Keris which is used as a means of
contained in the movie as a consideration in self-defense, at minute 00 : 16 : 53.
this research.This is in order to simplify and Next is the data verification stage.At
clarify the accuracy of the data obtained .Some this stage, the conclusions obtained are based
of the parts that become the determining points on the alignment of the analysis, methods,
in the selection of the sample are one of the theories, and experiences of the viewers
scenes in this film which reflects the cultural represented by the author. The author will
values of the Southeast Asian population, watch the Movie Raya and The Last Dragon
especially the culture of the Indonesian and analyze the parts of the scene that have
state.How is the main character's attitude been selected using identity theory by Jane
towards other characters and the surrounding Batkin in her book entitled Identity in
environment. The author makes observations Animation: A Journey into Self, Difference,
by watching each movie scene from the Culture and the Bodypada 2017. The paper
beginning until to the end of the movie and argues that animation is a powerful tool for
observing it from the author's point of view exploring identity because it allows for the
and taking parts that are considered to be able representation of subjective experiences and
to present that idea.The author examines internal states that may be difficult to
several parts of important scenes as samples in articulate through other mediums. Through an
the study which are considered capable of analysis of a range of animated films and TV
showing the identity of Nusantara. At this shows, including "Avatar: The Last
stage, the author chooses the scene: Airbender," "Steven Universe," and "Rick and
1. The opening of the movie begins with a Morty," the paper examines how animation
scene depicting a group of people using can be used to represent issues of self,
a hoe to work on their land, at minute 00 difference, culture, and the body. Johnston
: 01 : 30. argues that animation can be used to represent
2. The background is in the form of using a wide range of identities and experiences,
the designs of the characters with a from gender and sexuality to race and
Balinese cultural background, at minute disability. By creating animated characters and
00 : 11 : 00. worlds that challenge traditional stereotypes
3. There is also a depiction of a typical and expectations, animators can help to create
traditional market from Indonesia, more inclusive and diverse representations of
namely the Floating Market on the identity.
island of Kalimantan, at minute 00 : 09 : Overall, "Identity in Animation: A
05. Journey into Self, Difference, Culture, and the
4. Design assets in the form of a traditional Body" is an insightful and thought-provoking
musical instrument called Gamelan, at paper that highlights the potential of animation
minute 00 : 14 : 36. as a medium for exploring and representing
5. There is a depiction of a scene with a issues of identity.
spiritual nuance or a ritual event

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Hasil Penelitian p-ISSN: 2087-8346
e-ISSN: 2597-8896

We can see this in line with the scene

FINDINGS AND DISCUSSION where Raya prepares the sesajen for the
spiritual activity of summoning the holy spirit,
The purpose of making animated that is the last Dragon called Sisu, as seen in
movie is not only entertainment but also picture below.
cannot be separated from the importance of
making similarities between images and Picture 1. Raya prepare the Sesajen (Source:
aspects of each element in making animation Raya and The Last Dragon)
itself.The author examines several parts of the
scenes in the film to be able to find a series of
important assets in the movie in detail. The
author divides into several groupings of
discussion objects that show identity according
to the category 1)the value of life that is seen
in habits, 2)main character design and other
characters, 3)local cultural wisdom in the form
of houses, weapons, and art forms, also 4)
backround.

1. Life Values
At the beginning of the movie, we can
see the jasmine flowers are used in every
traditional spiritual activity of the Balinese Sesajen offerings is a tradition in
people.The flower symbol symbolizes various ceremonies with nuances of traditional
sincerity and purity. The implementation of rituals and socio-religious events. This has
every traditional ceremony with a ritual also occurred in Balinese Hindu society since
nuance always requires plants to support its time immemorial and even today. Even though
activities. The number of plants used in the they have different types or varieties of
equipment for these ritual activities is very Sesajen, the various rites in using these
diverse and has different meanings from one offerings actually have the same goal, that is
another, but nowadays all the plants needed asking for safety or asking for protection from
are sometimes plants that are easy to find the God so that they can avoid calamity or
around the environment where the Balinese harm caused by supernatural beings or spirits
people live (Putri et al., 2013). that have different names and types in every
The ritual equipment always uses a place. In addition, several rites of giving
Banten which means Sesajen in the language Sesajen are also intended as a form of
of the Balinese people as a symbol of gratitude gratitude for what has been obtained, and hope
to God. Sesajen refers to offerings or sacrifices for success and prosperity in the present and in
made to honor and appease spirits, deities, or the future.
ancestors. These offerings can take many Endraswara stated that there are ritual
forms, such as food, flowers, incense, and symbols in the form of Sesajen. The Sesajen is
other items that hold symbolic meaning. One a visualization of the thoughts, desires, and
of the sesajen that has the simplest form is feelings of the performer in order to get closer
called Sesajen Canang Sari. Canang sari is an to the Gods. This activity of getting closer
offering to the God that has a container made through offerings is actually a form of cause
of leaves and filled with a type of plant, one of and effect from an abstract culture. Sesajen are
which is flowers and incense as a means of also a means to carry out negotiations or talks
religious event for Balinese people (Hariana, that are spiritual in nature on occult thingsso
2017). that these supernatural creatures do not
interfere with human life. By giving food

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Hasil Penelitian p-ISSN: 2087-8346
e-ISSN: 2597-8896

symbolically to supernatural beings, it is Picture 2. Design character Raya (Source:

hoped that these creatures will behave as they Raya and The Last Dragon)
are, and if they want to help human life
(Persada et al., 2020).
The Balinese people, who are
predominantly Hindu, are people who are
thick with various ritual activities and
traditional Balinese Hindu ceremonies in their
daily activities. Almost every day they offer
Sesajen, both in the form of plants such as
flowers, food and sacrifices as well as
activities related to spiritual nuances and so
on. This is an expression of request to the
guardian God for safety in his life from
various disturbances that exist in this world. In
Balinese culture, there is a ritual activity that
must be carried out every day as a form of
gratitude to God. Pangolin animals are divided into
eight species, and are included in the genus
2. Character Design Manis, family Manidae, and grouped in the
The main character in this film is Pholidota family. Javanese pangolin or Sunda
named Raya as seen in picture 2. She is the pangolin is one of the species found in
daughter of the village head who has been Indonesia. This animal is unique because its
fond of adventurous things since childhood. entire body is covered with fairly hard scales
She can also be a symbol for children in as a form of self-defense when it feels a threat
Indonesia, because Indonesian children from a from other predators, They have long tongues
young age really like to do exploration that make it easier for them to find small
activities at a relatively early age. At this age insects such as ants that live underground,
children are directly involved in manipulating Pangolin animals also do not have teeth
objects around them to be studied actively, because their food is insects that have soft
using real situations accompanied by the use bodies. Javan pangolins are nocturnal animals
of imagination as a form of their thoughts and that can be found in forests and areas of oil
feelings. With a curiosity that is so strong and palm plantations, rubber plantations or
supported by the geographical shape where transition zones between forests and local
they live, it makes children withdraw people's plantations which have a lot of gras
themselves to be able to satisfy themselves (Cahyono, 2008).
(Saraswati et al., 2021). The author sees the character called
Raya is the main character in this Tuk Tuk contained in picture 3 as a
movie. Picture 2 is a very appropriate representation of the pangolin animal, one of
depiction of a Southeast Asian woman with which is located in a landmark Asian region
dark brown skin color, large eyes and black that is in Indonesia, where the Javanese people
and brown eyes also long and thick black hair. call this animal by the name of the Sunda
Southeast Asia is a tropical area, which causes pangolin. However the character Raya
people to be exposed to direct sunlight in their represents a southeast Asian woman with
daily activities. For example, brown skin color brown skin color, then automatically her friend
is a typical skin color for Indonesian people named Tuk Tuk must also come from the same
(Sukisman & Utami, 2021). area that is Indonesia.

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e-ISSN: 2597-8896

Picture 3. Design character TukTuk (Source: we look at it at a glance, we can feel that this
Raya and The Last Dragon) traditional house prioritizes beauty in its
construction. The interesting thing about this
building is that its architectural design
resembles a flat shape which is a trapezoid but
in an inverted state. One more thing that is
interesting about the process of making this
traditional house is that from the beginning of
its manufacture to the end it does not use nails
as a binder between the parts of this building
(Fiandi, 2017).

Picture 4. Design traditional house; Gadang

(Source: Raya and The Last Dragon)

3. Local Cultural Wisdom

As a country that is rich in local
wisdom for its culture, there are many things
that can represent Indonesia on the
international, whether it is from the form of a
modern house as it is nowdays or from a house
that is classified as ancient so that can make it
is own unique values, a type of food that uses
a lot of typical spices and of course the taste of
Indonesian people's cuisine is definitely more In Indonesia, there is an traditional
spicy, traditional music that was born on the weapon that ancestors used as a form of
existence of instruments that have their own defense and as equipment in every important
unique sound, objects that were used in the traditional event.The weapon is called the
time of our ancestors as a form of every daily Keris which has a wavy shape on both sides
activity as well as a form of their defense from and with a sharp and tip.Keris can be
the enemies. Indonesian local cultural wisdom interpreted as a legacy of the ancestors of the
will never run out to be told or researched for Indonesian nation on objects that some people
scientific material that will be used in the consider it as a work of art in the form of
present and in the future. weapons.The process of making a keris is
Picture 4 shows a building that has the quite complicated because the smiths must be
shape of a traditional house in Indonesiathatis able to master the techniques in the process of
Gadanghouse or traditional house of West forming the kris itself.In the process of
Sumatra which has its own characteristics. creating a keris there is an assumption that
Most of the buildings are made of wood which there is interference from the Gods in this
has solid properties and has a long lasting matter.So some people believe that the keris is
power. Another uniqueness is that we can see a sacred object that has magical powers (C.,
it from the shape with the slightly curved tip of 1937).
the roof and the sharp tip of the blade like the In the movie Raya and The Last
horns of a male buffalo. Another thing that is Dragon, picture 5 shows the use of a sword in
attractive is the carvings which have a shape the form of a keris which was used by Raya's
pattern that almost resembles batik patterns. if

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E-mail: misswana1@gmail.com
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e-ISSN: 2597-8896

father as a form of defense against attacks puppet) or ketoprak1 as the accompanying or

launched by other residents of the backsound music for the show. In Javanese
Kumandra.The conflict that occurred because society and from the Mataram kingdom the
each of them wanted to seize the magic crystal use of Gamelan music is usually called
from the holy spirit and then they used it as a "Karawitan" which means complicated,
source asset for the prosperity of their own smooth, or small. The use of Gamelan
village.They are too greedy and complacent instruments in Javanese art is still shown at
for the crystal. Raya's father, who believed that official events such as weddings, thanksgiving
Kumandra would definitely reunite like before, and so on (- et al., 2014).
but instead they betrayed this belief so that The author finds that the use of
Raya's father desperately defended the kristal Gamelan instruments in the Movie Raya and
by using his flagship weapon that is keris The Last Dragon is not just an illustration,
sword. Raya's father lost and the keris sword howeverthis gamelan instrument actually
was given to Raya as a form of inheritance as a becomes the backsound of several scenes in
symbol of spirit and a struggle (Bolter & this moviesuch as when the prologue scene of
Gromala, 2018). themovie uses Gamelan music as musical
accompaniment or music for spiritual event
Picture 5. Design weapon keris (Source: Raya (Nasir, 2016). There is also another scene,
and The Last Dragon) such as at the time of a joint meal between all
the residents of the Kuramadra, where we are
shown and at the same time hear the sound of
the Gamelan instrument.
The use of gamelan sounds is assumed
as an effort to create an authentic atmosphere
and feel like in Southeast Asia, the place
where gamelan culture originates. Thus, the
use of gamelan can promote the cultural
identity of Southeast Asia in general, and
Indonesia in particular. In addition, gamelan is
also often associated with values such as unity
and cooperation, because it is usually played
together by a group of people. Therefore, the
use of gamelan in this film might reflect these
One of the cultural legacy in terms of values, and also give a positive message about
sound and music is the existence of diversity and unity in Indonesian culture. as in
instruments that can produce a distinctive or Picture 6.
unique sound such as a traditional musical
instrument called Gamelan which is of the
type originating from the mainland of Java or
more precisely the art that originated from the
Mataram kingdom and then passed on by the
Keraton Kingdom. Javanese gamelan is a
traditional musical instrument from Indonesia
as an ancestral legacy that is not known for
certain when and how it was originally 1
Ketoprak is a popular street food dish in Indonesia,
created. Gamelan is usually played in a especially in Jakarta. It is a vegetarian dish that typically
performance such as wayangakulit (shadow consists of rice vermicelli noodles, tofu, bean sprouts,
and cucumber, all mixed together with a peanut sauce.
Some variations of ketoprak may also include boiled
eggs, fried shallots, and krupuk (a type of Indonesian
crackers).

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Picture 6. Traditional instrument; Gamelan Picture 7. Floating Traditional Market

(Source: Raya and The Last Dragon) (Source: Raya and The Last Dragon)

The Floating Traditional Market The art of shadow puppet ( wayang )

(pasar apung) in Banjarmasin is a public performance is not new for poeple in the
facility that is made to serve as a means of Southeast Asian region.This has always
shopping for the floating traditional market in existed for every ethnicity and nation. In the
Banjarmasin.The basic idea arises because the Southeast Asian region, this unique art has
original floating traditional market in become a symbol of identity for the
Banjarmasin is not well organized and tends to Nusantara.In Indonesia, wayang has various
damage the river because of market waste that types and forms, this can happen because it is
floats on the river so that a floating traditonal adjusted to the visualization of the wayang
market is needed that is organized in terms of artists and the place where the puppets are in
good buying and selling and the waste system the show.Some of the famous wayang in
is in accordance with a good and healthy Indonesia come from various regions, for
shopping place. The Floating Market in example from the island of Java, wayang Narta
Banjarmasin have met good market criteria in in Bali, wayang Sasak in Lombok, wayang
the process of buying and selling, arranging Banjarmasin, wayang Palembang, wayang
and also handling waste. This floating kulit Cirebon and so on (Koesoemadinata,
traditional market is expected to be able to 2013).
restore and maintain tradition and locality of The scene shown in picture 8 is the
the people in Banjarmasin, so that traders in prologue of the movie Raya and The Last
this floating market can become a special Dragon which uses visualizations from
attraction and also increase tourism in wayang performances in Indonesia.The
Banjarmasin (Emanuella et al., 2018). movement of the animation when cultivating
Another local wisdom is the market the land using a hoe is the same as the motion
which is quite unique because the place where of the wayang when it is played.The design of
they trade is on a small boat but with a very the wayang is almost the same as the wayang
much capacity for the goods they trade.The kulit design that comes from Cirebon.
floating traditional market in this movie is a however, The shape and color of the wayang
market that operates in waters that are the used in this animation are more modern, unlike
center of trade and economic turnover for the the original wayang which have a monotone
Kumandra residents in the talon area, the black and white color with a little gold added
depiction of the floating market as in picture 7. on the design (Subagya, 2013).

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e-ISSN: 2597-8896

Picture 8. Shadow puppet ( wayang ) in the Picture 9. Nuance of Balinese cultural

prologue scene (Source: Raya and The Last background (Source: Raya and The Last
Dragon) Dragon)

The author identifies that the setting

used in Movie Raya and The Last Dragon is
Balinese cultural background.This is shown in CONCLUSION
picture 9 which uses assets and properties that
have similarities to Balinese culture.Such as The results of the study conclude that
the use of aspects of the arrangement of fruits there is a depiction of the identity of the
that represent the habits of the Balinese nusantara in the Movie Raya and The Last
people.The use of fruits for the Balinese Dragon. This result can be proven through the
people is not just as food but more than that, identification of the selected scenes that can
the fruits will be offered to their ancestors and present aspects include the habits of people in
to the God as a form of gratitude for what they the Southeast Asian region and also from
have obtained in this world.Another aspect through the main character “ RAYA”. Raya is
shown in picture 9 is the use of clothing on the described as a warrior who is tough, brave, and
character of Raya and her father.The clothing has values such as courage, honesty, and
designs used are almost the same as the loyalty which are highly valued in Indonesian
clothing designs used by the Balinese people culture. Apart from that, Raya also seems to
every day.The forms and patterns used include really appreciate cultural diversity and
aspects of simplicity such as the use of plain cooperation, which are values that are
cloth with batik patterns.The atmosphere considered very important in Indonesian
shown in picture 9 seems calm,This means the society. Through Raya's character and
culture of the Balinese people who love the storyline, this film gives a positive message
calm aspect of life.This serenity is caused about cultural diversity and the importance of
because the Balinese people like doing cooperation in achieving common goals,
religious activities that require concentration which are very important values in the culture
and calmness of the soul in its implementation of the archipelago.
as in the process of doing a meditation. Moreover, Asian people always put
However we can see the expanse of mountains forward and believe in the values of life which
and rivers which a characteristic terms of include spiritual activities or the daily
geography in Indonesia (Dewi, 2019). activities they usually do, this is also closely
related to the values that are embraced and
applied in Indonesia. the use of the building
form which is identical to various traditional
houses in Indonesia, one of which uses the
design of the Gadang traditional house from

*Author(s) Correspondence:
E-mail: misswana1@gmail.com
122
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Journal of English Language and Culture

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Hasil Penelitian p-ISSN: 2087-8346
e-ISSN: 2597-8896

West Sumatra. The background of the place Grounded Theory Dalam Riset
used also adds to the aspect of the typical Kualitatif. Jurnal Ilmiah Akuntansi
atmosphere of mainland Indonesia which has a Dan Bisnis, 9(1), 19–27.
tropical climate which is identical to Bolter, J. D., & Gromala, D. (2018). Magic
rainwater.The designs of the characters that Book. Windows and Mirrors, 11(2),
represent the gestures and appearance of the 165–173.
Indonesian people such as the design of the https://doi.org/10.7551/mitpress/7248.
main character named Raya who is a 003.0007
representation of a southeast Asian woman C., K. de B. (1937). Keris and other Malay
who has dark brown skin.The use of tools and Weapons. Nature, 139(3506), 51–51.
properties also adds to the aspect of Nusantara https://doi.org/10.1038/139051b0
identity, such as the use of wayang kulit art, Cahyono, E. (2008). Kajian anatomi skelet
the existence of a sword in the shape of a trenggiling jawa (Manis javanica).
keris. The Nusantara does have a lot of Dewi, N. (2019). SUNGAI, SAWAH, DAN
cultural diversity. However, this variety of SENGKETA: TINJAUAN
cultures does not make us divided but it is EKOFEMINISME KARYA SASTRA
precisely these differences that bring the BERLATAR ASIA TENGGARA
Nusantara to the international with it is culture (River, Rice Field, and Conflict: An
that is recognized by many other countries. Ecofeminist Reading of Fictions Set in
This research was conducted because Southeast Asia). Kandai, 15(2), 277.
of the desire to participate in identifying the https://doi.org/10.26499/jk.v15i2.1466
culture that exists in one's own country so that Emanuella, R., Dan, C., & Kwanda, T. (2018).
later it can be used as a reference for further Pasar Terapung di Banjarmasin.
research.The Nusantara has a lot of culture that JURNAL EDIMENSI ARSITEKTUR,
is not yet known by the people themselves and VI(1), 865–872.
from the international.Therefore, the author https://garuda.ristekbrin.go.id/docume
wants to learn and research more about the nts/detail/984711
culture that exists in our country. Fiandi, C. oktavia. (2017). Keajaiban
The author's recommendationis that Arstektur Rumah Gadang.
more Asian researchers who are experts in https://badanbahasa.kemdikbud.go.id/l
expressing their ideas and thoughts in the amanbahasa/sites/default/files/27. Isi
perception of their own cultural identity need dan Sampul Keajaiban Arsitektur
to be put forward in a global scope. The role of Rumah Gadang.pdf
other researchers is very useful for readers H Kara, O. A. M. A. (2014). 済無No Title No
who want to increase their knowledge about Title No Title. In Paper Knowledge .
the identity of a culture. Toward a Media History of
Documents (Vol. 7, Issue 2).
Hariana, K. (2017). Banten Canang Sari
sebagai Identitas Budaya Bali dalam
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E-mail: misswana1@gmail.com
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Versi Online: http://journal.ubm.ac.id/ Vol. 13 (No. 2) : 114 – 124. Th. 2023
Hasil Penelitian p-ISSN: 2087-8346
e-ISSN: 2597-8896

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