PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI · PDF file · 2017-12-17Jayanti, Papua....

DRAMA PERFORMANCEAS AN INSTRUCTIONALTECHNIQUE

FOR PAPUAN SEMINARIANSAT ST. PAUL HOUSE OF SPIRITUAL FORMATION

JAYANTI, PAPUA

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirementsto Obtain the Sarjana Pendidikan Degree

in English Language Education

ByVincentia AprillaPutri

Student Number: 111214095

ENGLISH LANGUAGE EDUCATION STUDY PROGRAMDEPARTMENT OF LANGUAGE AND ARTS EDUCATIONFACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITYYOGYAKARTA

2015

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJIPLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

i

DRAMA PERFORMANCEAS AN INSTRUCTIONAL TECHNIQUE

FOR PAPUAN SEMINARIANSAT ST. PAUL HOUSE OF SPIRITUAL FORMATION

JAYANTI, PAPUA

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirementsto Obtain the Sarjana Pendidikan Degree

in English Language Education

ByVincentia Aprilla Putri

Student Number: 111214095

ENGLISH LANGUAGE EDUCATION STUDY PROGRAMDEPARTMENT OF LANGUAGE AND ARTS EDUCATIONFACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITYYOGYAKARTA

2015


iv

Hope is the thing with feathers

That perches in the soul,

And sings the tune without the words,

And never stops at all,

And sweetest in the gale is heard;

And sore must be the storm

That could abash the little bird

That kept so many warm.

I've heard it in the chillest land,

And on the strangest sea;

Yet, never, in extremity,

It asked a crumb of me.

(Emily Dickinson)

I dedicate this thesis to all teachers and volunteers

Who warmly cultivate new hope

For a better education in Papua.


vii

ABSTRACT

Putri, Vincentia Aprilla. (2015). Drama Performance as an InstructionalTechnique for Papuan Seminarians at St. Paul House of Spiritual Formation,Jayanti, Papua. Yogyakarta: English Education Study Program, Sanata DharmaUniversity.

People from different regions certainly have different learning culture. Aprogram namely “Jayanti Formative English 2014” in Jayanti, Papua was intendedto facilitate English learning among Papuan seminarians. This program has shownthat Papuan seminarians have unique cultures that help them learn better. In detail,this program used an instructional technique namely drama performance whichfacilitated Papuan seminarians in learning English.

By taking part as the instructor of this program, the writer was able topropose two research questions. They were: (a) what is the learning culture ofPapuan seminarians? (b) to what extent did drama performance as instructionalmethod lead Papuan seminarians into English learning?

In order to answer the first and second research questions, the writerconducted a basic interpretive qualitative research. The instrument used to answerthe first research question was a telephone interview. Meanwhile, the secondresearch question which aimed to find out the importance of drama performanceas instructional technique for Papuan seminarians’ English learning was answeredby comparing and contrasting the finding of the questionnaire items to the dramatheories and Papuan seminarians’ learning culture.

The result of the study showed that Papuan seminarians have variouslearning culture. They are: (a) Papuan seminarians learn through kinestheticactivities (b) Papuan seminarians learn through oral language (c) Papuanseminarians learn better in relaxing atmosphere (d) Papuan seminarians learnthrough communal activities. Related to the use of drama performance, it can beconcluded that drama performance is an appropriate instructional technique forPapuan seminarians’ English learning. In the deeper analysis, drama performancefacilitates Papuan seminarians’ English learning in some characteristics. They are(a) drama performance facilitates Papuan seminarians to develop confidence inlearning English (b) drama performance facilitates Papuan seminarians to createrelaxing atmosphere in learning English (c) drama performance facilitates Papuanseminarians in utilizing kinesthetic and auditory ability to learn English creatively(d) drama performance involves cooperation to learn English.

Keywords: Papuan seminarians, learning culture, drama performance


viii

ABSTRAK

Putri, Vincentia Aprilla. (2015). Drama Performance as an InstructionalTechnique for Papuan Seminarian at St. Paul House of Spiritual Formation,Jayanti, Papua. Yogyakarta: Pendidikan Bahasa Inggris, Universitas SanataDharma.

Orang yang berasal dari daerah yang berbeda tentu memiliki budaya yangberbeda. Sebuah program bernama “Jayanti Formative English 2014” di Nabire,Papua bertujuan untuk memfasilitasi pelajaran Bahasa Inggris bagi seminarisPapua. Program ini telah menunjukkan bahwa seminaris Papua memiliki budayayang unik yang membantu mereka untuk belajar lebih baik. Selain itu, programini menggunakan sebuah metode instruksional bernama pertunjukan drama yangmemfasilitasi seminaris Papua dalam belajar Bahasa Inggris.

Setelah berperan serta sebagai instruktur di program ini, penulis mampumerumuskan dua pertanyaan, yaitu: (a) bagaimana budaya belajar seminarisPapua? (b) sejauh mana pertunjukan drama sebagai teknik instruksionalmenuntun seminaris Papua dalam belajar bahasa Inggris?

Untuk menjawab pertanyaan pertama dan kedua, penulis melakukansebuah penelitian kualitatif. Instrumen yang digunakan untuk menjawabpertanyaan pertama adalah wawancara melalui telepon. Sedangkan untukmenjawab pertanyaan kedua yang bertujuan untuk menemukan pentingnyapertunjukkan drama sebagai teknik instruksional bagi seminaris Papua dalambelajar bahasa Inggris dilakukan dengan cara membandingkan hasil kuisionerdengan teori-teori tentang drama dan budaya belajar seminaris Papua.

Hasil penelitian menunjukkan bahwa seminaris Papua memiliki berbagaibudaya belajar, yaitu: (a) seminaris Papua belajar melalui aktivitas-aktivitaskinestetik (b) seminaris Papua belajar melalui bahasa oral (c) seminaris Papuabelajar dapat lebih baik dalam suasana santai (d) seminaris Papua belajarmelalui aktivitas-aktivitas berkelompok. Berkaitan dengan penggunaanpertunjukan drama, dapat disimpulkan bahwa pertunjukkan drama adalah tehnikinstruksional yang tepat bagi seminaris Papua dalam belajar Bahasa Inggris.Dari hasil analisis yang lebih mendalam, pertunjukan drama memfasilitasiseminaris Papua dalam beberapa hal, yaitu: (a) pertunjukan drama memfasilitasiseminaris Papua untuk mengembangkan kepercayaan diri dalam belajar BahasaInggris (b) pertunjukan drama memfasilitasi seminaris Papua untuk menciptakansusana santai dalam belajar Bahasa Inggris (c) pertunjukan drama memfasilitasiseminaris Papua untuk memanfaatkan kemampuan pendengaran dan kinestetikmereka untuk belajar Bahasa Inggris secara kreatif (d) pertunjukan dramamelibatkan kerjasama dalam belajar Bahasa Inggris.

Kata kunci: Papuan seminarians, learning culture, drama performance


ix

ACKNOWLEDGEMENTS

First of all, I would like to express my gratitude to my Lord, Jesus Christ

for his guidance so that I have the strength to complete my thesis. He always

sends me wonderful people to support and accompany me along the process of

writing this thesis.

I have received a great guidance from my advisor, Markus Budiraharjo,

M.Ed., Ed.D., who is always willing to read piece by piece and give comments to

what I wrote. I also thank him for the motivation, expertise, and knowledge. I very

much appreciate all the patience, suggestions, and criticism, he has provided to

enable this thesis to be completed. I would also express my heartfelt thanks to

Father Lucianus Suharjanto, S.J., S.S., STB., M.A. for giving me a chance to

take a part in the program “Jayanti Formative English 2014”. Also for the

motivation and support, I thank him. Besides, I am deeply grateful to all PBI

lecturers for the knowledge they share and the guidance during my learning

process in PBI.

I warmly thank Father Basilius Soedibja, S.J., the director of St. Paul

House of Spiritual Formation for the sharing, meaningful discussion, and the

permission to conduct my research. My sincerest thanks also go to all staffs of St.

Paul House of Spiritual Formation for the unforgettable memories that we spent

together. My special thanks are also addressed to all brothers at St. Paul House of

Spiritual Formation for the spirit to join “Jayanti Formative English 2014” and for

the willingness to be my research participants. They pleasantly shared their

experiences and allowed me to write about their lives. For Mbak Agnes Wilis


x

Prawismi, my wonderful partner, best friend, and sister in the program, I offer my

billion thanks to her.

This thesis would not have been possible without the wise advice, prayer,

support, and endless love of my mother, Maria Sunarsih and my father, Felix

Trimo. Thus, I owe them my deep gratitude. I am also very grateful to my

brothers Mas Robert and Dek Dodo for the love, support, and unforgettable

childhood games. I cherish the memories of the time we spent together.

I give my sincerest thanks to my best friends Ce Dinda, Merry, El-el,

Cha-cha, Gege, Didi, Susi, Gerard, Shabrina and Upek for coloring my days

with jokes, anger, and precious moments. For my classmates for the friendship

and joy we share together during my study in university, I thank them.

I am lucky to learn with brothers and sisters in Bale Belajar Angon and

Green Meadow for School Yogyakarta. Through the dynamics I find enthusiasm

to deal with children in plenty fun actions as well as to love my body and nature.

Thus, I thank them for the trust and countless experience which give great

contribution in my personal and social development.

Finally for my dearest one, Nightingale for without him this thesis would

have been impossible. Thanks for always reminding me to focus on my task. I

also thank him for supporting me in difficult times during the process of finishing

this thesis.

Vincentia Aprilla Putri


xi

TABLE OF CONTENTS

TITLE PAGE ........................................................................................................... i

APPROVAL PAGE ................................................................................................ ii

DEDICATION PAGE............................................................................................ iv

STATEMENT OF WORK’S ORIGINALITY ........................................................v

LEMBAR PERSETUJUAN PUBLIKASI ................................................................ vi

ABSTRACT.......................................................................................................... vii

ABSTRAK ............................................................................................................. viii

ACKNOWLEDGEMENTS ................................................................................... ix

TABLE OF CONTENTS....................................................................................... xi

LIST OF TABLES ............................................................................................... xiv

LIST OF APPENDICES........................................................................................xv

CHAPTER I. INTRODUCTION

A. Research Backgroud............................................................................................1

B. Research Problems ..............................................................................................7

C. Problem Limitation..............................................................................................8

D. Research Objectives ............................................................................................8

E. Research Benefits ................................................................................................9

F. Definition of Terms............................................................................................10


xii

CHAPTER II. REVIEW OF RELATED LITERATURE

A. Theoretical Description .....................................................................................12

1. The Overview of Drama Performance-Based Activities.......................12

a. Role Play .........................................................................................14

b. Improvisation Drama.......................................................................14

c. Hot Seating ......................................................................................15

d. Puppetry...........................................................................................15

e. Storytelling ......................................................................................16

f. Mime ...............................................................................................16

2. Ignatian Pedagogy as the Holistic Approach ........................................17

3. The Learning Culture of Papuans..........................................................19

a. The Overview of Kinesthetic Activities of Papuans .......................19

b. The Overview of Oral Tradition of Papuans ...................................20

c. The Overview of the Basic Disposition of Papuans........................22

d. The Overview of Social Life of Papuans ........................................23

B. Theoretical Framework .....................................................................................24

CHAPTER III. METHODOLOGY

A. Research Method...............................................................................................26

B. Research Setting ................................................................................................27

C. Research Participants ........................................................................................28

D. Instruments and Data Gathering Technique ......................................................28

E. Data Analysis Technique...................................................................................30

F. Research Procedure ...........................................................................................31

CHAPTER IV. RESEARCH RESULTS AND DISCUSSION

A. The Learning Culture of Papuan Seminarians ..................................................33

1. Papuan Seminarians Learn through Kinesthetic Activities .........................33

2. Papuan Seminarians Learn through Oral Language....................................36


xiii

3. Papuan Seminarians Learn Better in Relaxing Atmosphere .......................39

4. Papuan Seminarians Learn through Communal Activities .........................43

B. The Importance of Drama Performance-Based Activities ................................45

1. Drama Performance Facilitates Papuans Students to Develop Confidence in

Learning English .........................................................................................45

2. Drama Performance Facilitates Papuans Students to Create Relaxing

Atmosphere in Learning English.................................................................48

3. Drama Performance Facilitates Papuans Students in Utilizing Their

Kinesthetic and Auditory Ability to Learn English Creatively...................49

4. Drama Performance Involves Cooperation to Learn English .....................56

CHAPTER V. CONCLUSIONS AND RECOMMENDATIONS

A. Conclusions .......................................................................................................59

B. Recommendations .............................................................................................60

REFERENCES .....................................................................................................62


xiv

LIST OF TABLES

Table page

Table 1. The seminarians’ attitude related to the confidence ....................................47

Table 2. The seminarians’ attitude related to the relaxing atmosphere......................49

Table 3. The seminarians’ attitude related to English vocabularies and structures ...50

Table 4. The seminarians’ attitude related to the creativity and writing skill............53

Table 5. The seminarians’ attitude related to speaking skills ....................................54

Table 6. The seminarians’ attitude related to the cooperation ...................................57


xv

LIST OF APPENDICES

Appendix page

APPENDIX 1: The transcripts of telephone interview..............................................65

APPENDIX 2: The data from questionnaire items ....................................................78

APPENDIX 3: The reflections of Papuan seminarians..............................................81


1

CHAPTER I

INTRODUCTION

This introductory chapter elaborates the general overview of the study. It

consists of research background, research problems, research objectives, research

benefits, and definition of terms.

A. Research Background

The diversity of cultural background affects on people’s point of view

toward learning. People who come from different places in Indonesia surely have

different experience in learning. In order to further acquire the experience in

learning, this study draws on interpretive inquiry where self-reflection becomes its

major characteristics. As stated by Merriam (2009), qualitative researchers are

interested in understanding how people interpret their experiences, how they

construct their worlds, and what meaning they attribute to their experiences. Thus,

to set out the study, an overview of autobiographical component of the inquirer is

of great meaning (Bullough & Pinnegar, 2001).

The experience of me as the one who comes from multicultural society

renders my understanding toward learning as well. I am a Javanese who was born

and grew up among Rejang and Lembak, two big tribes in Bengkulu. Although I

was educated in Javanese family, the society enabled me to blend well with

Rejang and Lembak culture. Considering this, I perceive learning as the natural

acquisition process which can hardly be separated by culture and society.


2

Another best chance to be among people from different culture was the

experience to conduct an English course at St. Paul House of Spiritual Formation,

in Nabire, Papua, namely “Jayanti Formative English 2014”. The students in this

house were seminarians who received spiritual training for a year. Meanwhile, in

the last month of their spiritual training, they joined the program “Jayanti

Formative English 2014” to prepare themselves to study in Sekolah Tinggi

Filsafat dan Teologi Fajar Timur, Jayapura. In truth, this occasion gave me new

experience since I had to live in a religious community. Besides, I lived among

the Papuan society that had very different culture from me.

Departing from my experiences, I learned that the acquisition process was

closely linked to the ability to communicate to the society around. Moreover, the

experience to be among people with different culture rightly created the talent to

respect and understand others. Most importantly, this meaningful occasion

enabled me have compassion for others, especially for Papuan seminarians who

needed special ways to learn.

The perspective to maintain a high expectation attitude to Papuan people

has also been shown by other people. Two research participants reported by

Budiraharjo (2013) demonstrated to anticipate their training in Papuan high

schools by adopting a high expectation attitude. These two Javanese teachers

heard many negative issues regarding the Papuan teachers. They eventually

agreed to reformulate their assumptions by believing that Papuans have their own

ways of thinking. They decided to believe in their potentials, rather than on their

deficits. It turned out that their perspective charge paid off.


3

Recalling the vision of Sanata Dharma University, which is being an

excellent and humanistic truth-seeker for the realization of a more dignified

society, I work hard to appreciate the Papuan seminarians. The project to teach

people of other races in “Jayanti Formative English 2014” led me not to be

judgmental to others. Also, in order to live the vision of Sanata Dharma Univerity,

I conducted a research toward the Papuan seminarians and tried to find the real

problems of Papuan seminarians’ learning.

It is significant to note that Sanata Dharma University is closely related to

the Ignatian Pedagogy which requires the context, experience, reflection, action,

and evaluation plays an important role in the learning process. According to

Kolvenbach (2005), context is related to the needs to know about learners, such as

their environment, background, community, and potential to teach the students

well. Meanwhile, experience is associated to the best way to engage learners as

whole persons in the teaching and learning process. Teachers must create the

conditions whereby learners gather and recollect the material of their own

experience in order to distil what they understand already in terms of facts,

feelings, values, insights and intuitions they bring to the subject matter at hand.

Teachers later guide the learners in assimilating new information and further

experience so that their knowledge will grow in completeness and truth. In

reflection, teachers lay the foundations for learning how to learn by engaging

students in skills and techniques of reflection. At this point, memory,

understanding, imagination, and feelings are used to grasp the essential meaning

and value of what is being studied, to discover its relationship to other facet of


4

human knowledge and activity, and to appreciate its implications in the continuing

search for truth. Besides, the action is about the opportunities which are provided

by teachers that challenge the imagination and exercise the will of the students.

Whereas the evaluation is related to the way teachers assess learners’ growth in

mind, heart, and spirit.

Based on informal conversation with several Papuan seminarians, most of

them come from marginalized societies who live in areas such as mountains and

villages which can hardly be reached by transportation facilities. Consequently,

Papuan seminarians in such areas find hurdles in terms of access to education. It

was reported that some schools in Papua even do not have clear grade or level in

learning. It follows that this circumstance certainly affects the Papuan

seminarians’ learning culture as well. The majority of them describe learning as

merely a process of transferring teachers’ knowledge to the students in school.

This statement is rooted in the missing support from parents to study, the limited

books and other sources to learn, and also their lack of confidence in learning

since they do not have the equal chance to learn like other students in other

provinces in Indonesia.

Among many existed reasons, most of Papuan tribes do not have their own

alphabets. They are accustomed to use the oral tradition to learn. As stated by

Slamet (1964) that Papuans, Flores and Kei are people with oral tradition. They

do not have any alphabets or written record on their history and traditions.

Instead, they tell their values and traditions orally from generation to generations

through symbols, ceremonies, songs, myths, and stories (p.25). This background


5

renders to the missing of normal process of abstraction, where language is its

main agent. Most of the Papuan seminarians are unable to transfer language in

writing form, and vice versa namely coding and decoding. The effect is that they

compose sentences incorrectly both in Indonesian and English. On the other hand,

due to their nature Papuan seminarians are accustomed to speaking out loud and

move quickly. Thus, their physical and verbal abilities are much better than any

other students in other places in Indonesia. These abilities are related to bodily

kinesthetic intelligence which facilitates students to control body movement and

to handle object skillfully (Gardner, 1996 in Huffman & Vernoy, 2010).

Regarding such problems, the program “Jayanti Formative English 2014”

at St. Paul House of Spiritual Formation provided a program book for the teaching

and learning process namely “Jayanti Formative English 2014” which was

developed by Father Harjanto, S.J. This program book employed drama

performance-based activities as the technique in learning English. The drama

performance-based activities mostly adapted narrative short stories from Aesop

which were composed into drama script and scenario. The narrative stories and

drama scripts were discussed and rehearsed for five days in a week, especially on

Monday up to Friday. Meanwhile, the Papuan seminarians performed the drama

in front of audience every weekend specifically every Saturday night.

As explained by Darling-Hammond (1997), there are nine key features of

environments which support meaningful learning namely active in-depth learning,

emphasis on authentic performance, attention to development, appreciation for

diversity, opportunity for collaborative learning, collective perspective across the


6

school, structures for caring, support for democratic learning, and connection to

family and community. Those nine features are presented in drama performance

in the program “Jayanti Formative English 2014” since the drama performance

actively engages Papuan seminarians in critical thinking and production in form

of authentic performance. Additionally, drama performance guides Papuan

seminarians to the activities which enable them to pursue the cultural context in

which their abilities are highly developed.

By taking part as the instructor of this program, I consider that drama

performance-based activities are able to represent the five elements in the Ignatian

Pedagogy, particularly context, experience, reflection, action, and evaluation.

Those five elements are confirmed to enable Papuan seminarians to transform

from the oral tradition to the coding-decoding tradition. Further, since I was

involved along the learning process, I was interested in conducting a research

toward the Papuans’ learning culture and the importance of drama performance as

an instructional technique to teach English for Papuan seminarians.

This study, however, is a follow-up to the previous study by Prawismi

(2014). The previous study discussed about the program evaluation of the earlier

course namely “Jayanti Active English Course 2013” at St. Paul House of

Spiritual Formation, Jayanti, Nabire, Papua. The program evaluation explains that

English learning process of Jayanti Active English Course 2013 in St. Paul House

of Spiritual Formation use some techniques such as stories, TPR, and drama

which were designed by considering the students’ educational context, religious

context of St. Paul House of Spiritual Formation, and the students’ need based on


7

Papuans cultural background. However, the previous study did not deeply discuss

the importance of drama performance for Papuan seminarians’ English learning.

I do believe that this study is crucial to be conducted because of three

reasons. First, English is an important language to be mastered by Papuan

seminarians since it is one of the media to communicate with people all around

the world. This statement is correlated to the goals of the program “Jayanti

Formative English 2014” that is to help the seminarians be familiar with English.

Accordingly, this program facilitates the seminarians to prepare for university

level in which they will gather with many people. Second, for the Papuan

seminarians with such background, being in school with teaching techniques

which do not consider the needs of them will create great hurdle to learn. Third,

this study intends to know the importance of the drama performance-based

activities as an instructional technique which had been implemented in a program

“Jayanti Formative English 2014” at St. Paul House of Spiritual Formation,

Nabire, Papua. Therefore, this essay is going to find out the learning culture of

Papuan seminarians and the importance of drama performance-based activities as

primary stepping stone for fluency in English.

B. Research Problems

The following are the problems which are expected to be answered through

conducting this research:

1. What is the learning culture of Papuan seminarians?


8

2. To what extent did drama performance as instructional technique lead

Papuan seminarians into English learning?

C. Problem Limitation

In order to involve in an in-depth study, the scope of this study is narrowed

by some limitations. First, the limitation placed in subject of the study, namely

Papuan seminarians. At this point, Papuan seminarians refer to the Papuan

candidates of Catholic priests who are educated in college namely a seminary.

Meanwhile the subject of this research is the Papuan seminarians who joined the

program “Jayanti Formative English 2014” at St. Paul House of Spiritual

Formation, Nabire, Papua. Hence, the learning culture which will be described in

this research is the learning culture of the Papuan seminarians who join the

program “Jayanti Formative English 2014” at St. Paul House of Spiritual

Formation, Nabire, Papua. Secondly, the focus of this research is the influence of

drama performance-based activities which had been used as the instructional

technique in the program “Jayanti Formative English 2014” for the Papuan

seminarians’ English learning.

D. Research Objectives

The purpose of this study is to answer the questions stated previously in

the problem formulation. There are two objectives formulated based on the

problems mentioned in this study. They are as followed:

1. To describe the learning culture of Papuan seminarians.


9

2. To find out the importance of drama performance as instructional

technique for Papuan seminarians’ English learning.

E. Research Benefits

By doing this research, the writer expects that the result will contribute

several benefits to the Papuan seminarians as well as teachers who are teaching in

Papua. This research is also expected to be useful for the future researchers,

especially those who are interested in Papuans’ learning, especially the English

learning for Papuan seminarians.

1. Papuan Seminarians

This research helps the Papuan seminarians recognize the problem which

they encounter in learning. Further, this research shows the importance of drama

performance which is able to facilitate learning of Papuan seminarians since it

embodies principles which consider their background and learning culture. To be

more specific, this drama performance enables Papuan seminarians to learn

English effectively by developing their abstractions ability through kinesthetic

activities in drama performance.

2. English Teachers at St. Paul House of Spiritual Formation

This research may give an alternative strategy to the teachers who teach

English at St. Paul House of Spiritual Formation to consider the needs of Papuan

seminarians. It will also help the teachers cultivate the materials they are going to

deliver to the students, mainly by using drama performance as the appropriate

technique to teach English.


10

3. Other Researchers

The result of this research will be expected to give clear description of

Papuan seminarians such as their background, learning culture, and their needs as

students. This research also will encourage other researchers to conduct further

research on the appropriate techniques to teach students with such background.

F. Definition of Terms

In order to make common conception to the readers about some terms used

in this research, the writer defines them as followed:

1. Papuan Seminarians

Papuan seminarians refer to the Papuan candidates of Catholic priests who

are educated in college namely a seminary. Papuan seminarians who participate in

this research are the seminarians who join the program “Jayanti Formative

English 2014” at St. Paul House of Spiritual Formation, Nabire, Papua.

Meanwhile, the result of this research is expected to be implemented to all Papuan

seminarians who learn languages, especially English language.

2. Learning Culture

Learning culture refers to Papuan seminarians’ ways of life, especially the

general customs, thinking and behaving. As stated by Rogoff (2003) that an

important feature to focus on repeating performance is by encouraging people to

develop their skill and ability so that the appropriate approach can be determined

regarding the particular culture and circumstance. Considering this, the learning

culture of Papuans are important to describe because it is required as the basic


11

thought in placing performance as the method and drama as the technique to teach

English for Papuan seminarians.

3. Ignatian Pedagogy

According to Kolvenbach (2005), Ignatian Pedagogy is a practical

approach in 1993 as a model that speaks to the Jesuit teaching-learning process,

that addresses the teacher-learner relationship, and that has practical meaning

which issued by International Commission on the Apostolate of Jesuit Education

(ICAJE) in order to translate the Jesuit educational characteristics into action.

Ignatian Pedagogy embodies five key teaching elements. They are context,

experience, reflection, action, and evaluation (p.2).

4. Drama Performance

In this study, drama performance refers to the instructional technique

which present drama as the focus. The drama performance used in the program

mostly adapted narrative short stories from Aesop which were composed into

drama script and scenario. The narrative stories and drama scripts were discussed

and rehearsed for five days in a week, especially on Monday up to Friday.

Meanwhile, the Papuan seminarians performed the drama in front of audience

every weekend specifically every Saturday night.


12

CHAPTER II

REVIEW OF RELATED LITERATURE

This chapter presents a discussion of related literature as a theoretical base

upon which the research outlined in Chapter 1 is conducted. This chapter is

divided into two sections, they are: theoretical description and theoretical

framework.

A. Theoretical Description

The theoretical description discusses theories which are used in research

discussion namely drama performance, Ignatian Pedagogy, and learning culture of

Papuans. Theories about drama performance are the main emphases of this

research, while the Ignatian Pedagogy substantiates five elements as the outline of

drama performance based-activities in “Jayanti Formative English 2014”. Lastly,

theories about learning culture of Papuan seminarians clearly give insight about

the subject of the research.

1. The Overview of Drama Performance Based-Activities

Referring to Evans and Thompson (2010), drama is described as a multi-

sensory tool, which combines listening, speaking, thinking, exploration. Drama

also uses the immediate environment and the development of physical control of

the students. Hence, through drama, teachers can encourage students to contribute


13

their own ideas, thoughts and feelings based on experiences or willingness to

explore further.

In the same way, Brown (2005) states that dramatic performances have

been shown to have positive effects on language learning since drama uses sight,

sound, and actions. In this context, actions are closely related to total physical

response as a technique which requires physical activities in language learning. As

noted by Brown (2002), memory is increased if the physical activities are

stimulated through association with motor activity. Thus, it can be inferred that

the physical activity in drama is closely linked to total physical response. In total

physical response, teachers play the role to give directions and instructions while

students have the role to listen and act as actors.

In language learning, drama performance takes a part as the means to

develop language proficiency of the students. Brauer (2002) claims drama

improves students’ cognitive, language skills, and problem solving ability. It

means that drama also enables students to develop the basic skills, namely,

speaking, listening, reading, and writing since drama is the integration of those

four skills. Further, the performance itself is dealing with memory, behavior and

culture as well. It can implement the collective memory through dialogic

conversation which offers opportunity to understand different culture (Roach,

1996, as cited in Brauer, 2002).

Other strengths of drama are related to the recognition of the active and

simultaneous engagement of mind, body, and imagination. It means that learning

through drama is holistic, interactive, and student centered, involving critical and


14

creative thinking and participation. This holistic, integrated nature of the learning

which is experienced in drama allows learners to take opportunities to make

connections across other areas of learning (Brauer, 2002).

To be more specific, there are varieties of drama techniques that lead to

creative thinking and can be used to develop language skills. The strengths of

each drama which is possible to support language learning are explained by some

experts as followed.

a. Role play

The shared experiences and engagement in a role play and acting help

pupils to develop the essential language skills of speaking and listening (Line,

1997 in Evans & Thompson, 2010, p.16). In the same way, Brauer (2002) believes

that a role play gives students more opportunity to use language in elaborate

dialogues within culturally relevant and significant contexts (p.228).

These explanations indicate that role play is closely related to the ability to

produce language in authentic conversation. In addition, role play demands the

cultural awareness and allows students to act out their knowledge. In this context,

the knowledge about English as the target language is the main focus of role play

drama.

b. Improvisation Drama

As noted in Brauer (2002), improvisation drama expresses emotion and

ideas through gesture, posture, and facial expression. It provides practice for

students to develop spontaneous speaking skills and greater fluency, but it has


15

value beyond this in its capacity to facilitate an environment for language learning

(p.193).

Improvisation drama is closely linked to the repetition, basic knowledge,

and memory of the students. For instance, in this drama, students are given certain

situations to react spontaneously. Thus, this kind of activity can also develop

students’ listening and speaking ability, and also the improvisation skills.

c. Hot Seating

According to Evans & Thompson (2010), hot seating activity gives

children the opportunity to use their imagination and step into the footprints of a

well-known character from a familiar story. They will have some prior knowledge

of the character from their previous contact with the story but they can then let

their own ideas take over and the story can develop in a totally original direction.

The activity of hot seating can vary each time. The activity like sitting

around and reading the text aloud can affect how loudly students speak, how

much eye contact they made, and how confident they appeared. Most importantly,

hot seating drama improves students’ pronunciation in English (Brauer, 2002).

d. Puppetry

Puppetry drama can provide opportunity for students to develop personal

and workforce skills like team work, sharing, taking turns, negotiating, reaching

compromise, and brain storming. Related to language learning, shadow puppetry

can be used to enhance understanding of literature or as a means of demonstrating

what has been learned by students (Fontichiaro, p.171). In other words, puppetry


16

which is dealing with the moving hands and oral language of students is also a

mean to develop idea, knowledge, and speaking skill of the students.

e. Story telling

Based on Fontichiaro (2010), retelling stories through drama calls on

students to demonstrate two key skills. One is the ability to understand the

elements of story such as its plot, character, setting, and sequence of events. The

second is the ability to demonstrate that understanding through dramatic action

(p.31). The dramatic actions are closely linked to the ability to develop students’

creative thinking and creating creative team work.

Related to English learning, Brauer (2002) believes that story telling drama

is able to make a text interesting, lively, and memorable. Story telling activity also

provides the opportunity for students to practice pronunciation. Also, the listening

activity in story telling drama creates improvement on the other three skills

namely speaking, reading, and writing.

f. Mime

Mime or pantomime refers to acting where there is no sound, only

movement. Pantomime is dealing with movement which has the power to

strengthen concentration, focus, and physical expression (Fontichiaro, 2010,

p.28). Meanwhile, narrative pantomime is a variation of pantomime in which the

participants act out events, without speaking, while the story is told or read aloud

by a single narrator (Fontichiaro, 2010, p.31).


17

Clearly Brauer (2002) gives explanations that mime provide five benefits

for language learning. First, mime integrates new vocabulary for the students.

Second, mime has very strong visual associations. Third, mime involves gestures.

Fourth, the grammatical structures can be integrated through mime. Fifth, mime is

very flexible and adaptable (p.226).

Related to bodily-kinesthetic intelligence, it is worth to remember that

movement and gesture are the beginning of communication. Besides, both gesture

and movements enable students to increase their confidence. Gesture starts as

random movement and ends as precise symbol which can be the starting step of

writing. Bruner (1986) as cited in Brauer (2002) explains that human beings

actively create their own models related to their capacity to acquire language, the

objective reality of the real world, the culture in which they are immersed. In

other words, knowledge is constructed by each learner. Therefore, mime can also

be a stepping stone for students to develop the writing skills.

2. Ignatian Pedagogy as the Holistic Approach

Patel (2003) points out that in teaching the holistic approach

accommodates personality and knowledge in two ways. First, it recognizes the

existence of different kinds of students and ethnic groups. Second, certain cultural

paradigms of knowledge exist in higher education and need to be communicated

to students from deprived and different ethnic backgrounds who do not share the

same values and aims. Hence, the holistic approach results in a safe learning

environment where a learner feels comfortable. This holistic approach is


18

sympathetic to improve the teaching situation and other recent developments in

learning and teaching. The approach is a synthesis of the success of personal

teaching practice reflection, past approaches and the recent developments.

Ignatian Pedagogy deeply describes the holistic approach which is

implemented in education field. This approach considers the students’ context,

puts forward the students’ experiences, and engages the concrete actions for the

students. To go further in in-depth learning, Ignatian Pedagogy requires two other

elements namely evaluation and reflection.

According to Kolvenbach (2005), context is related to the needs to know

about learners, such as their environment, background, community, and potential

to teach the students well. Meanwhile, experience is associated to the best way to

engage learners as whole persons in the teaching and learning process. Teachers

must create the conditions whereby learners gather and recollect the material of

their own experience in order to distil what they understand already in terms of

facts, feelings, values, insights and intuitions they bring to the subject matter at

hand. Teachers later guide the learners in assimilating new information and

further experience so that their knowledge will grow in completeness and truth. In

reflection, teachers lay the foundations for learning how to learn by engaging

students in skills and techniques of reflection. At this point, memory,

understanding, imagination, and feelings are used to grasp the essential meaning

and value of what is being studied, to discover its relationship to other facet of

human knowledge and activity, and to appreciate its implications in the continuing

search for truth. Besides, the action is about the opportunities which are provided


19

by teachers that challenge the imagination and exercise the will of the students.

Whereas the evaluation is related to the way teacher assess learners’ growth in

mind, heart, and spirit.

3. The Learning Culture of Papuans

Theories provided are related to the learning culture of Papuan seminarians

which clearly give insight of the subject of the research. This learning culture is

divided into four parts, they are: the kinesthetic activities of Papuans, the oral

tradition of Papuans, the basic disposition of Papuans, and the social life of

Papuans.

a. The Overview of Kinesthetic Activities of Papuans

Located in the easternmost part of Indonesia, Papua has always been as the

province with problematic cases in terms of education. Most of Papuan people

live in highlands, mountains, and village which are difficult to be reached by

transportation facilities which influence their access to education.

Considering the Papuan people are accustomed to living traditionally with

nature, the idea about education is absolutely new. As noted by Rutherford (2013)

that Irian Jaya which is known as Papua is inhabited by people who run across

snowfields wearing nothing but penis gourds and pig fat (p.2). In addition,

Rutherford (2013) has described the life of Biak people, a big tribe in Papua:

Biak people’s ancestors were still running around naked when Biakevangelists arrived to open schools. “Living, as it were, in the Stone Age”makes it difficult for highlanders and coastal people in the self-determination movement to unite (Rutherford, 2013, p.3)


20

It is equally important to be familiar with the school condition in Papua.

Munro (2013) describes the school condition in Jayawijaya and highlands in

Papua as followed:

A recent World Bank study found that in Jayawijaya there are just fourprimary schools per one thousand schoolage children, which is roughlyhalf the national average. Around 60 percent of all villages in Jayawijayado not have a primary school, and the average distance from these villagesto the nearest school is seven kilometers. The average distance from thesevillages to a secondary school ranged from twenty-three to thirty-twokilometers. Local terrain is hilly or mountainous, criss-crossed by riversand a patchwork of marshes, swamps, and gardens. Transportation islimited and expensive (p.36).

These backgrounds support the idea that Papuan seminarians have high

naturalist intelligence. Due to their nature Papuan seminarians were accustomed

to speaking out loud and moving quickly. Thus, their physical and visual abilities

were much better than any other students in other places in Indonesia. This kind

of intelligence is closely related to bodily-kinesthetic intelligence which facilitates

students to control bodily movement and to handle object skillfully (Gardner,

1996 in Huffman & Vernoy 2010). Hence, this background enables drama

performance-based activities to be used as the instructional technique to cultivate

the Papuan seminarians’ fluency in English since drama requires physical

response as its main principle.

b. The Overview of the Oral Tradition of Papuans

Language is the ability to understand and use a structured system of

communication (Evans & Thompson, 2013, p.1). Language is divided into two,

written and oral. People who have had writing system or alphabet are known as

people with written tradition. People with written tradition record their history and


21

literature in the form of written documents such as letters, books, scripts, and

others. People who do not have alphabet in their language are known as people

with oral tradition. People with oral tradition will transmit the cultural material

orally from one generation to another.

Most of Papuan tribes did not have their own alphabets. They were

accustomed to use the oral tradition. Slamet (1964) points out that Papuans, Flores

and Kei are people with oral tradition. They do not have any alphabets or written

record on their history and traditions. Instead, they tell their values and traditions

orally from generation to generations through symbols, ceremonies, songs, myths,

and stories (p.25). This background rendered to the missing of normal process of

abstraction, where language was its main agent. Most of the Papuan seminarians

were unable to represent language in writing form, and vice versa namely coding

and decoding. As the consequences of the oral tradition, most of Papuan

seminarians were not able to compose sentences incorrectly both in Indonesian

and English.

Concerning the used for teaching and learning process in Papua, Surya

(2013) claims that the main problem of education in Indonesian is the lack of

good teachers and appropriate methods. Nowadays, the technique used in Papua

such as rewriting the materials from the blackboards without emerging

comprehension of the students is useless (p.126). His statements indicate that in

teaching Papuan seminarians, the technique which focuses on writing activities

must be avoided since it does not strongly cultivate students’ understanding in

learning.


22

c. The Overview of the Basic Disposition of Papuans

Papuan seminarians tend to have unique perspective toward teachers and

educations. Majority of seminarians experience the sense of inferiority in school

because teachers usually come from different regions with good quality of

education. Robbins in Munro (2013) describes “diminishment” as discourses of

race, wildness, childishness, backwardness, primitiveness, and temporal

“behindness” that can cause humiliation and a sense of inferiority (p.27).

Diminishment is coupled with nation-state and local discourses that inflate the

transformative potential of education.

It is worth nothing that the migration which happened in Papua also brings

impacts to Papuans’ education. Based on Upton (2009), the migration has also

limited the educational and employment opportunities of indigenous people,

creating hostility towards the newcomers among indigenous people and resulting

in an alienation from the Indonesian nation. For urban areas, education levels in

Papua are better than for the nation as a whole. However, for rural areas,

education levels in Papua are worse than for the nation as a whole.

It is equally important to understand that the quality of teachers also

defines the output of the students in an area. According to Upton (2009), teachers

in Baliem Valley area in Wamena are often inexperienced and those who are

experienced have a lack of interest in their teaching jobs. Besides, the teachers are

poor of teaching methods, have no proper assessment of students’ progress, have

no preparation for classes, and a lack of materials and facilities.


23

These statements are strengthened by Munro (2013) who describe that the

quality of teaching is questionable since there is the fact that teachers are absent

during school hours approximately 30 percent. Meanwhile, Surya (2013) believes

that the keys for successful learning in Papua are a good teacher and the

appropriate method (p.125). A teacher who is respectful of both process and

performers will ultimately improve the product, both the performance and a

successful student outcome.

Related to students’ comprehension, Krashen (1981) in Willis (2010)

stated that physical structures or neural networks in brain are influenced by stress.

Neuroimaging studies reflect the influence of stress and pleasure on the filtering

of sensory input that enters the brain determines whether the information goes to

the thinking brain or the lower, involuntary reactive brain. When the stress directs

sensory input to the lower brain, the input does not become consolidated as stored

memory. Hence, the students’ comprehension of the first or second language

occurs when they are able to get the message of each language in low anxiety

levels.

d. The Overview of the Social Life of Papuans

Merriam and Kim (2008) highlight the learning of non- Western adults

which are communal, lifelong and informal, and holistic. In contrast to how

Westerners view learning as individual, non-Westerners tend to view knowledge

as communal. From this communal perspective, learning is the responsibility of

all members of the community because it is through this learning that the

community itself can develop (p.73). It means that the knowledge gained is to be


24

shared. Additionally, non-Western cultures view learning as lifelong and informal.

It means that learning is not only related to formal institutions, but it occurs in

everyday life and only ends when the learners die. Finally, learning is holistic. It

departs from the notion that learning involves not only the mind but the body, the

spirit, and the emotions (p.76).

Papuans, as described by Boelaars (1986), are communal people. Every

tribe of Papuans usually does activities jointly since they are led by a headman in

their tribe. They work and survive their lives through kind of communal activities

such as hunting-gathering, and farming.

Papuan people who live in the mountains, and highlands earn their living

by farming, hunting, and gathering with people in their societies. They plant

various plants such as sweet potatoes, bananas, cassavas, and kinds of vegetables

for their daily needs. Some others are working as pig breeders. Meanwhile, those

who live near sea or lakes like Mimika, Asmat, and Marind-anim, fulfill their

needs by fishing or gathering shells.

B. Theoretical Framework

In conducting the research, the writer applies theories of drama

performance, the holistic approach in Ignatian Pedagogy, and the theories of

learning culture of Papuans.

Theories about the power of drama are applied as the guidance to analyze

types of drama which are appropriate to lead Papuan seminarians into learning.

For the further analysis, those drama theories support the findings about the


25

importance of drama performance-based activities toward the language learning of

Papuan seminarians. The analysis is conducted by comparing and contrasting the

finding of the research to the drama theories provided.

Meanwhile, the holistic education which is described in Ignatian Pedagogy

affirms the powers of drama for language learning. The five elements in Ignatian

Pedagogy serve as the framework in choosing drama performance as the

instructional method to teach Papuan seminarians.

In addition, the information about the learning culture of Papuan

seminarians is required as the basic thought in placing performance as the method

and drama as the technique to teach English for Papuan seminarians.


26

CHAPTER III

METHODOLOGY

This chapter discusses the method of the research. It also discusses a

certain analysis used to prove the research from the data gathering. This chapter is

divided into seven parts. They are research method, research setting, research

participants, research instrument and data gathering technique, data analysis

technique, and research procedures.

A. Research Method

This research was a qualitative research. According to Ary, Jacobs,

Sorenses, and Razavieh (2010), the qualitative research focused on the

understanding of social phenomena in the perspective of human participants in

natural settings. Thus, in this research, the perspective of Papuan seminarians

toward their learning culture and the importance of drama performance-based

activities toward their English learning became the focal points.

In this qualitative research, the writer used basic interpretive qualitative

research as the method. As defined by Merriam (2009), basic interpretive

qualitative study focuses on understanding how participants make meaning of a

situation of a situation or phenomenon. Hence, this study focused on obtaining

information about the learning culture of Papuan seminarians at St. Paul House of

Spiritual Formation and the importance of drama as the instructional technique in

the program “Jayanti Formative English 2014”.


27

Based on Merriam (2010), basic interpretive qualitative research is

conducted by collecting data through interviews, observations, or document

analysis (p.6). However, in this study, the instruments used by the writer were

interview set and questionnaire. The interview was used to answer the first

research problem which focused on the learning culture of Papuan seminarians.

Meanwhile, the questionnaire was used to answer the second research problem

about the importance of drama performance as instructional technique for the

Papuan seminarians’ English learning.

B. Research Setting

The study took place at St. Paul House of Spiritual Formation, at Jalan

Jayanti, Nabire, Papua. The study was conducted in two sessions. Firstly, the

study was conducted while the program “Jayanti Formative English 2014” was

running. The program “Jayanti Formative English 2014” was held on June 16th up

to July 16th 2014. Secondly, the study was done after the program “Jayanti

Formative English 2014” was ended, especially when the writer had returned back

to Yogyakarta. Considering this, the data gathering was done twice. The first the

data gathering was done in St. Paul House of Spiritual Formation, especially on

on 11th of July 2014 trough distributing questionnaire items. The next data

gathering was done in Yogyakarta in November 2014 through telephone

interview.


28

C. Research Participants

The participants of this study were 7 Papuan seminarians who attained the

age of 20-25 years old. Those Papuan seminarians joined the program “Jayanti

Formative English 2014” at St. Paul House of Spiritual Formation, Nabire. The

writer chose Papuan seminarians at St. Paul House of Spiritual Formation because

they came from seven different tribes of Papua such as Maybrat, Fak Fak,

Walak, Wiagar, Bilai, Mee, and Moni. They also came from some villages of

different regencies of Papua such as Intan Jaya, Deiyai, Wamena, Fak-Fak, and

Maybrat regency. In addition, they were chosen because they had learned English

through drama performance in the program “Jayanti Formative English 2014”.

D. Instruments and Data Gathering Technique

Since the method used in this research was a basic interpretive qualitative

research, the instruments employed in this study were a set of interview lists and

items of questionnaire. De Marrais (2004) as cited in Merriam (2009) defines

interview as a process in which a researcher and participants engage in a

conversation about questions related to the research. This interview is helpful to

observe behaviors, feelings, or how people interpret the world around them.

Besides, interview is necessary to dig out information about past events which are

impossible to replicate. Meanwhile, Wilson and McLean (1994) as cited in Cohen,

Marion and Morrison (2003) said that questionnaire is widely used and useful for

collecting survey information, providing structured, often numerical data, being


29

able to be administered without the presence of the researcher, and often being

comparatively straight forward to analyze (p.245).

In order to gather the necessary information about the learning culture of

Papuan seminarians, the writer conducted a telephone interview to seven Papuan

seminarians at St. Paul House of Spiritual Formation. Thus, in the interviews the

writer asked for about twenty open-ended questions which dealt with the Papuan

seminarians’ personal experiences in learning and their point of view toward

learning. The open-ended questions form was used in the interview so that there

would be no predetermined answers that limit the respondents’ responses. Further,

the importance of drama performance as instructional technique for the Papuan

seminarians’ English learning was established by using 15 items of questionnaire

as the instrument. This questionnaire was in form of close-ended questions.

The writer realized that there were some challenges in interview which was

done through telephone. First, telephone interview was expensive. Thus the writer

needed special budget for telephone interview. Secondly, the writer and the

participants had different dialects which rendered to the misunderstanding about

the information. Therefore a voice recorder was needed in conducting telephone

interview. The voice recorder was very helpful to gather the complete information

from the participants, for instance the information about name of unfamiliar

regions in Papua and many others. Third, considering that the participants were

seminarians, the writer needed to think about the appropriate time to contact them.

Thus, the writer used to call the participants once in a week in their leisure time,

especially on Monday afternoon.


30

Most importantly, considering that this research is a part of qualitative

research, it is essential to admit the writer as the major instrument of this research.

As stated by Merriam, (2009), there are four characteristics which become the

focus of qualitative research. They are: (1) qualitative research focuses on

meaning and understanding (2) qualitative research places researcher as the

primary instrument for data collecting and data analysis (3) the process in

qualitative research is inductive (4) the product of qualitative research is rich of

descriptive. Those four characteristics deal with the thoughts, experiences,

knowledge, understandings, and reflectivity to draw meanings which expressed in

form of descriptive. Therefore, some findings of this research are strengthened by

the reflections of the writer and Papuan seminarians at St. Paul House of Spiritual

Formation during the course “Jayanti Formative English 2014”.

E. Data Analysis Technique

To analyze the data, the writer used the theories written in the previous

chapter. The data gathered through interview and questionnaire were compared

and contrasted to the theories in order that the writer gained the result. For

instance, the writer compared and contrasted the importance of drama

performance from the questionnaire to the theories about the power of drama in

language learning.

In analyzing the data from questionnaire, the writer used Likert scale as the

method. Ari, et al. (2010) said that Likert scale method was an appropriate

method to summarize the rating of attitude toward a topic by presenting a set of


31

statements. Then, respondents were inquired to indicate each statement whether

they are strongly agree, agree, undecided, disagree, or strongly disagree.

Table E1. Example of Questionnaire Items

No. StatementsStrongly

AgreeAgree

Strongly

DisagreeDisagree

1. Drama performance

provides repetition in

pronouncing English words.

After the data gathered, each point of statements was recapitulated in form

of percentage using this calculation formula:

n : number respondents who choose the certain option

N: total number of the respondents

F. Research Procedure

Since this study was a qualitative study, the process of the research was

regressive. Based on Cooper and White (2012), the regressive represents a process

to return to the past, to capture it as it was, and as it hovers over the present. In

other words, the process of qualitative research is not linear but regressive by

nN x 100%


32

nature. Therefore the reconstructed knowledge appears in the process of

strengthening the understanding.

There were some steps in conducting this study. Firstly, the writer directly

involved as a tutor in the program “Jayanti Formative English 2014”. In the

program “Jayanti Formative English 2014”, the writer implemented drama

performance based-activities which were designed by Father Harjanto, S.J. Then,

the writer observed the drama performance in the program and wrote down the

findings of the observations in the daily journal of the writer. Secondly, the writer

distributed questionnaire to the students to know the importance of drama

performance for their English learning. The third step was conducting interview to

the students through telephone to know the learning culture of them. The fourth

step was transcribing the data gathered from the interview. As stated by Cohen,

Marion and Morrison (2003), transcribing data is a crucial step to give

information trough written communication so that the data does not become time-

consuming to analyze. The last step was that the writer analyzed the result of

questionnaire, and interview which will be discussed in the next chapter.


33

CHAPTER IV

RESEARCH RESULTS AND DISCUSSION

This chapter discusses the answers of research questions which are

formulated in the problem formulation. This discussion is divided into two major

parts. The first part presents the discussion of the first research problem.

Meanwhile the second part provides the discussion of the second problem

formulated. Each analysis of the research problems is discussed and strengthened

by theories written in the review of related literature.

A. The Learning Culture of Papuan Seminarians

According to the theories about learning cultures of Papuans as described

in the review of related literature, the dominant learning cultures of Papuan

seminarians can be divided into four parts, they are: Papuan seminarians learn

through kinesthetic activities, Papuan seminarians learn through oral language,

Papuan seminarians learn better in relaxing atmosphere, and Papuan seminarians

learn through communal activities.

1. Papuan Seminarians Learn through Kinesthetic Activities

Papuans are kinesthetically strong since they are accustomed to living

traditionally with nature. As stated by Rutherford (2013), Papuans live in

highlands, mountains, and villages which are difficult to be reached by

transportation facilities. In addition, they are comfortable with the nature which

forces them to run and move quickly.


34

Based on the interview which was conducted to seven Papuan seminarians

at St. Paul House of Spiritual Formation, five of them stated that they were from

marginalized places such as remote villages and rural communities near the sea,

hill, forest and valley. Most of these areas did not have educational institutions

like schools. Therefore, for most Papuan seminarians at St. Paul House of

Spiritual Formation, attending a school was totally a challenge.

This information was affirmed by Nem (pseudonym), a Papuan seminarian

from Kabe village, Merauke regency. He had to walk for five kilometers to go to

the nearest elementary school. Moreover, he had to a row boat for three days to

reach the nearest city. His experience shows that Papuans are physically powerful.

Another similar experience was from Mepa (pseudonym), a Papuan seminarian

from Bilogai village, Intan Jaya regency. Mepa used to wake up at 2 a.m. every

day to walk for about 20 kilometers to attend the nearest junior and senior high

schools in Omeyo sub-district. Additionally, Nae (pseudonym), a Papuan

seminarian from Dama Bagata village, Deiyai regency stated that the hill contour

of Dama Bagata village created obstacles for the transportation facilities to reach

the area. Thus, walking became the only way to reach some places such as school,

market, and city.

Munro (2013) stated that most of the villages in Jayawijaya and highlands

in Papua do not have primary schools. One of the research participants named

Nayak (pseudonym) was from Wamena, Jayawijaya. He confirmed that

elementary school was not accessible in his village namely Pikae village.

Considering this, he was accustomed to walking for about 7 kilo meters in order


35

to go to the nearest elementary school which located in another village in

Wamena.

The statements of Nem, Mepa, and Nayak show that most of the

geographical areas of Papua enable Papuans to walk further than those who are in

other regions in Indonesia. The portraits of Papuan seminarians at St. Paul House

of Spiritual Formation are strengthened by the experience of the writer when

teaching Papuan seminarians around Papuan society. On Sunday, students in the

St. Paul House of Spiritual Formation used to walk for about 10 km to go to

Nabire city. Due to their nature, the Papuan seminarians at St. Paul House of

Spiritual Formation were at ease with the duty to work in the field such as to chop

down the trees, look for grass, and hoe the patch as well. In addition, some

children around the Jayanti village were accustomed to walking far to reach the

nearest elementary school, whereas the adults did activities which related to

physical movements such as hunting and farming.

The further example is linked to the kinesthetic skills of Papuan

seminarians at St. Paul House of Spiritual Formation. Gardner (1996) in Huffman

and Vernoy (2010) points out that bodily-kinesthetic intelligence facilitates

students to control bodily movement and to handle object skillfully. In fact, most

of the students at St. Paul House of Spiritual Formation had outstanding skills to

control bodily movements in some activities such as playing football, volley ball,

swimming, and fishing. Moreover, through the games which were played in the

classroom, Papuan seminarians at St. Paul House of Spiritual Formation were able

to move, walk, and run faster.


36

Hence, from the theory, interviews, and observation to the Papuan

seminarians at St. Paul House of Spiritual Formation, it can be concluded that the

first appropriate way for Papuan seminarians to learn is through kinesthetic

activities. These kinesthetic activities are dealing with physical movements.

Considering these kinesthetic abilities, the learning for Papuan seminarians should

involve the physical movements as the instructions.

2. Papuan Seminarians Learn through Oral Language

Papuan people, as described in the review of related literature, do not have

their own alphabet. They are people with oral tradition (Slamet, 1964). This

theory is proved by the statements of the seven research participants. They

affirmed this condition by explaining that each tribe of Papuans has their own

language. However, each language is spoken orally. Therefore, the Papuan people

cannot easily understand a new language in written form.

The explanation of Mepa and Nem prove these theories. Mepa stated that

he belongs to Bilai tribe and speaks Migani language. Yet, the Migani language is

not represented in written form, but it is orally spoken by the Bilai tribe. In

addition, Nem stated that there is a language spoken by Wiagar tribe in his village

namely Hohogi language. This language cannot be expressed in written form

since it has no alphabet. Therefore, the Wiagar tribe is not familiar with the

written tradition.

Due to the fact that Papuan people are people with oral language, the

language learning process for Papuan seminarians should require oral practices. It

means that the learning materials should not be explained in written form such as


37

taking notes or reading comprehension. This statement is strengthened by Surya

(2013) who states that the method used in Papua such as rewriting the materials

from the blackboards without emerging comprehension of the students is useless.

Based on the interview, most of the techniques used by the teachers in

Papua did not consider Papuan students’ oral ability. Most of the techniques used

by the teachers were related to written activities. This condition is proved by three

research participants who explained that learning sources were limited in their

schools. The learning sources such as books were only owned by the teachers for

particular subjects. Yet, the teachers used techniques which required students to

read and write. Thus, the common activities in class were rewriting learning

materials from the blackboard without any explanation since most of the learning

hours were spent to rewrite the learning materials.

One of the Papuan seminarians, Mepa stated that the contours of his village

were hills and valleys which limited the transportation facilities to reach his

village. Therefore, books were only available when he was in senior high school.

Meanwhile, books were very difficult to buy when he was in elementary and

junior high school. The difficulties to find books were caused by the expensive

transportation facilities to go to the nearest city to buy books. Once he got a book

from the missionaries who taught students in Intan Jaya, but then his only one

book was used to copy all materials from the blackboard. Through experiencing

this condition, Mepa used to read learning materials from the blackboard without

rewriting the materials in his book.


38

The Papuan seminarians were not familiar with books since books were

hard to find. Nem and Nayak stated the similar information that the availability of

books was limited. In Kabe village, books were available, but the price was

expensive. Meanwhile, each elementary school student in Pikae village usually

only had one book which contained different subjects or learning materials.

Considering this, it was hard for the students to completely understand the

learning materials from the school.

Related to English learning, most of the research participants explained

that they firstly learned English in senior high schools. The techniques used were

note taking, doing exercises from the guidance books, writing stories, and

remembering the tenses formula. Yet, one of the research participants, Mepa

stated that joining the program “Jayanti Formative English 2014” was his first

chance to learn English.

For those who had learned English in school, English was seen as a

difficult subject. Jack (pseudonym), a Papuan seminarian from Wayati village,

Fak-Fak regency shared his feelings toward the learning techniques used in

school. He was always unhappy to learn English since the techniques such as

reading long passages and doing exercises from the books were hard to do. He felt

that those techniques were not suitable enough for Papuan students who were not

accustomed to reading and writing in English. He also stated that most of the

assignments in senior high school required students to write stories or essays in

English. Consequently, the writing process was confusing since they did not

master the English sentence structures. In a nutshell, the techniques such as


39

reading long text, doing written assignments and note taking in teaching English

for Papuan seminarians should be avoided. On the contrary, to succeed the

learning process of Papuan seminarians, the techniques which involve oral

language should be implemented.

3. Papuan Seminarians Learn Better in Relaxing Atmosphere

Relaxing atmosphere refers to the atmosphere which can create students’

happy feelings in learning. It is worth to remember that the teachers’ behaviors

influence the feelings and dispositions of the students. According to Krashen

(1981) in Willis (2010), physical structures or neural networks in brain are

influenced by stress. Neuroimaging studies reflect the influence of stress and

pleasure on the filtering of sensory input that enters the brain determines whether

the information goes to the thinking brain or the lower, involuntary reactive brain.

When stress directs sensory input to the lower brain, the input does not become

consolidated as stored memory. Hence, the students’ comprehension of the first or

second language also occurs when they are able to get the message of each

language in low anxiety levels.

Departing from Krashen’s theory, the learning activities should support

students to have happy feelings and positive disposition toward teachers. When

students enjoy the teaching and learning process, students will be more motivated

to attend the school. Besides, the learning activities should be helpful in

improving the bravery and confidence of Papuan seminarians.

Nowadays the majority of Papuan seminarians tend to have unique

perceptions toward teachers. They perceive a teacher as a person who has power


40

since they experience the violence when they were in elementary schools. This

fact is supported by the experience of a Papuan seminarian named Sorin

(pseudonym) from Kumurkek village, Maybrat regency. His experience of being

bullied by a teacher in primary school is one of the examples. According to him,

teachers had the power to restrict the students’ thoughts and actions. Therefore,

there was a rule in the elementary school that students must not ask the teachers to

accept the students’ idea. If the students disobeyed the rule, they would be

punished. Once, he asked one of his teachers to give students some numbers of

math exercise. In fact, the teacher considered his idea as an impolite direction to

the teacher. Consequently, Sorin was hit using a stick as a punishment.

In the same way, Nem and Nayak added some information related to their

feelings in school. Both of them unhappily told the stories about their being

“slaves” for their teachers. When they were in elementary school, teachers were

also perceived as people with power. Therefore, students should obey whatever

said by the teachers. Both Nem and Nayak stated that disobeying the rules made

by the teachers would cause a punishment for students. The punishments were

related to manual works such as going to forest to find woods or going to river to

catch fish for the teachers’ lunch.

This condition shows that Papuan seminarians learn in school unhappily.

Mepa also added the information that he was always unhappy to learn in school.

He stated that he experienced the violence when he was in elementary school,

junior high school, and senior high school. Mostly, the teachers hit the students


41

using a rattan. Therefore, sometimes he was afraid to go to school since there

were joyful works to do except going to school.

Mepa also shared his experience when he became the pigs’ breeder. After

graduating from elementary school, he took care of pigs. Therefore, he became the

pigs’ breeder for three years. The reason was that he did not enjoy the learning

process in school. Besides, he needed money to survive, while his parents had to

move to another village to find jobs.

The experiences of majority of Papuan seminarians show that there is

sense of inferiority in school. The different backgrounds of students and teachers

also influence the inferiority of the students. As stated by Sorin, students used to

feel the inferiority toward teachers because teachers came from different islands

such as Java, Sumatera, and Moluccas. The students believed that teachers from

those areas had good quality of education. Therefore, the “diminishment” which

was described by Robbins in Munro (2013) cause humiliation and a sense of

inferiority to the students because they have no more confidence to share their

ideas, thoughts, and feelings in school.

The sense of inferiority which had been experienced by Papuan

seminarians while studying in school was obviously noticed on the first day of my

arrival at St. Paul House of Spiritual Formation. Based on informal conversation

with the students, most of them were afraid of me due to their perspective towards

teachers at school. The next day which was the first day of the course, they were

still unconfident to speak English. However, they willingly wrote down their

feelings in the reflection books. As stated by Kolvenbach (2005), reflection is


42

used in order to grasp the essential meaning of what have been learned. Therefore,

the Papuan seminarians expressed their feelings, understanding, and imagination

in their reflection book.

On the first day of the course, two Papuan seminarians wrote their

reflection about their feeling as followed.

Mepa :

“ I feel happy because I can English study in class room. All will for in so

many to English.”

Jack :

“Happy

Today is special for me, because English class make me happy. I feel that

is interesting experience. I hope the next will be very interest then today. I

think it’s wow…

Also with English class or English day I hope after that I can speak English

to well”.

As shown above, in the reflection book, most of the seminarians said that

they were happy and thankful for having the opportunity to learn English.

Although their first reflection was quite short, the Papuan seminarians were eager

to state their feelings in form of English writing.

Those explanations show that Papuan seminarians learn better when

teachers do not limit their ideas and thought. By developing their thoughts and

ideas, Papuan seminarians will not feel the inferiority and diminishments in


43

learning. Moreover, by feeling the happy atmosphere in learning, Papuan

seminarians will be motivated to learn. As a result, good learning will lead them

to good jobs which improve their quality of life.

4. Papuan Seminarians Learn through Communal Activities

Merriam and Kim (2008) highlight the learning of non-Western adults

which are communal, lifelong and informal, and holistic. In contrast to how

Westerners view learning as individual, non-Westerners tend to view knowledge

as communal. From this communal perspective, learning is the responsibility of

all members of the community because it is through this learning that the

community itself can develop (p.73). It means that the knowledge gained is to be

shared. Additionally, non-Western cultures view learning as lifelong and informal.

It means that learning is not only related to formal institutions, but it occurs in

everyday life and only ends when the learners die. Finally, learning is holistic. It

departs from the notion that learning involves not only the mind but the body, the

spirit, and the emotions (p.76).

Papuans as part of non-Western culture tend to view knowledge as

communal. As defined by Boelaars (1986), Papuans are accustomed to doing

communal activities. According to Mepa, the Bilai tribe in his village was

accustomed to working together in the farm. People also built fence, bridge, and

path together by the command of their tribe leader namely Sonowi. Since the

Bilogai village did not have electricity facilities, the junior high school students

also worked together to support their learning activities. They used to go to forest


44

in the afternoon to chop down some bamboos. Then, in the evening the bamboos

were used to make lanterns to facilitate the Papuan seminarians learning activities.

More information about the communal activities of Papuans was stated by

Boy (pseudonym), a Papuan seminarian from Mamur village, Fak-fak regency.

The communal activities of Papuans in Mamur village were dominated by the

activities which are done by men such as hunting for boars and “kus-kus” in the

forest. Then, women in the village gathered in a traditional house to cook the

animals. Besides, if there was a marriage ceremony, people in his village would

gather and discuss about the price of the dowry named “benis”. After that, people

in the village would try to earn money together to pay the “benis”.

According to Nem, Papuans who lived near the coastal area did not work as

farmers. Most people in coastal areas worked as fishermen and palm choppers.

The fishermen used to do the fishing together in the sea since each ship could be

filled by five fishermen. Meanwhile, the palm choppers chopped down the palms

in the forest and processed the palms into sago in a community.

The experience of living around Papuan society also extends my

understanding toward the diverse culture. The societies around St. Paul House of

Spiritual Formation lead into a conclusion that majority of indigenous Papuans in

Jayanti village work together to do the farming and breeding. They plant cassava,

bananas tree, pineapple, guava trees, cocoa plants, vegetables, and coffee plants

together, while the breeders usually also breed the pigs together.

Those explanations confirm that Papuans are communal people. They are

accustomed to learning and working in a community. Therefore, in order to


45

succeed the learning process of Papuan seminarians, the techniques which involve

communal activities are needed.

B. The Importance of Drama Performance - Based Activities

The four dominant learning cultures of Papuan seminarians were proved by

the study which was conducted. In addition, the experience of the writer in

teaching Papuan seminarians at St. Paul House of Spiritual Formation played the

important role to support this research. Therefore, those four dominant learning

culture lead to the consideration to implement drama as the technique in teaching

English which is suitable for Papuan seminarians.

The importance of drama performance as an instructional method

for the Papuan seminarians’ English learning was established by the writer’s

experience and strengthened by 15 items of questionnaire. The findings are

classified as followed:

1. Drama Performance Facilitates Papuan Seminarians to Develop

Confidence in Learning English

Drama performance provides the circumstances which facilitate Papuan

seminarians to repeat English words and sentences. Certainly, these circumstances

assist seminarians to gain confidence through the drama rehearsals. They also

develop their confidence through the drama performance in a stage.

According to Sorin, one of the research participants, performing drama was

a good chance to develop his confidence. He stated that he always felt nervous to

speak in front of people. Yet, through drama performance he felt more confident


46

to speak because there were also some friends on the stage. Besides, he felt more

confident since he did the rehearsal before performing the drama. Meanwhile, Boy

stated that his confidence in speaking English language was developed through

performing drama. Before learning through drama, he always felt unconfident to

speak English. Yet, drama facilitates him to speak English in front of people.

Therefore, his confidence develops gradually.

This understanding is closely related to the principles of Ignatian Pedagogy

as stated by Kolvenbach (2005). As the foundation of Jesuit educations, Ignatian

Pedagogy deeply described the holistic approach which is implemented in

teaching English for Papuan seminarians. Papuan seminarians had backgrounds as

students who feel the inferiority in learning. Hence, the action to be done is the

opportunities to practice English in real ways through repeating English sentences

and performing English drama in front of the audience. By performing in front of

audience, Papuan seminarians’ confidence will develop gradually.

Further, the evaluation and reflection which were described in Ignatian

Pedagogy also played an important role in the learning process of Papuan

seminarians through “Jayanti Formative English 2014”. The Papuan seminarians

in St. Paul House of Spiritual Formation did the evaluation and reflection every

day, especially at the end of the learning process. Besides, they also did the

evaluation and reflection every Saturday night, specifically after the drama

performance. Through the evaluation and reflection, the Papuan seminarians

could gradually develop their confidence, their ability to share idea and opinion,

and their English skills.


47

The opportunity to act through drama activities renders to the development

of motor sensory of Papuan seminarians. As noted by Brown (2002), memory is

increased if the physical activities are stimulated through association with motor

activity. Thus, it can be inferred that the action which is shown by the physical

movements in drama improves the Papuan seminarians’ ability to learn, especially

in learning English.

Based on the study conducted through questionnaire items, there are two

statements about drama performance and its influence to Papuan seminarians’

confidence. The seminarians’ attitudes toward the two statements mentioned

above are stated in form of percentage as followed:

Table 1. The Seminarians’ Attitude Related to the Confidence

No. Statements SA A D SD

10. Drama performance provides

repetition in pronouncing

English words.

43 % 43 % 14 % -

14. Drama facilitates me to improve

my confidence.57 % 29 % 14 % -

Form the table above, six of seven students choose to agree and strongly

agree to the statement that drama performance provides repetition in pronouncing

English words. In contrast, there is one student who chooses to disagree to the

statement. The positive result also found in the statement that drama helps them

improve confidence. Six of seven students support this statement by choosing to


48

agree and strongly agree to the statement. Meanwhile, the other one student

chooses to disagree to the statement. Therefore, it can be inferred that drama

performance provides repetition in pronouncing English word. Besides, drama

performance enables Papuan seminarians to improve their confidence.

2. Drama Performance Facilitates Papuan Seminarians to Create

Relaxing Atmosphere in Learning English

As described in the learning culture before, Papuan seminarians learn

better in relaxing atmosphere. The relaxing atmosphere is important since Papuan

seminarians often do not feel relax in learning, especially in learning English.

Considering this, drama performance is an appropriate technique which

facilitates Papuan seminarians to learn English in relaxing way. For instance,

drama facilitates Papuan seminarians to memorize English vocabularies.

Memorizing English vocabularies can be difficult for Papuan seminarians if they

are forced to learn under pressure. Drama performance also includes the English

sentence structures. It means that the dialogues spoken in drama performance help

the Papuan seminarians sharpen their English. Through the dialogues, Papuan

seminarians are given the chance to listen and memorize the English sentence

structure. In the long run, they have the ability to produce the correct verbal and

written English sentences.

One of the questionnaire items conducted to the seven Papuan seminarians

in St. House of Spiritual Formation states that Papuan seminarians enjoy learning

English through drama performance. The finding of the questionnaire item is

stated in form of percentage as presented by the table below.


49

Table 2. The Seminarians’ Attitude Related to the Relaxing Atmosphere


2. I enjoy learning English through

drama performance.

86 % 14 % - -

The positive power of drama toward the Papuan seminarians’ feeling in

learning English is shown by the statement that Papuan seminarians enjoy

learning English through drama performance. Six of seven Papuan seminarians at

St. Paul House of Spiritual Formation state that they strongly agree to the

statement, while one student states that he agrees to the statement.

For these findings, it can be concluded that Papuan seminarians feel a

relaxing atmosphere in learning English through drama performance. This

relaxing atmosphere leads them to enjoy the learning process. By enjoying the

learning process, the Papuan seminarians can learn English better.

3. Drama Performance Facilitates Papuan Seminarians in Utilizing Their

Kinesthetic and Auditory Ability to Learn English Creatively

The most observable aspect in drama is that every student who plays drama

has the opportunity to move and speak out loud. This opportunity is closely linked

to Ignatian Pedagogy as stated by Kolvenbach (2005). Ignatian Pedagogy

associates best way to engage learners as whole persons in the teaching and

learning process through the experience of the students. In this context, Papuan

seminarians have the experience to move fast and speak out loud. Thus, the


50

teacher can use drama because it enables students to use their kinesthetic and

auditory ability to learn English creatively.

Pantomime is one example of drama performance which is done in

“Jayanti Formative English 2014”. Pantomime is used as a technique since it

emphasizes the physical response. As stated by Brauer (2002) that pantomime

provides five benefits for language learning. One of them is that pantomime

integrates new vocabulary for the students. The students indirectly learn English

vocabularies because through pantomime students develop their ability to listen

and identify English words and sentences spoken by the narrators.

To meet the advantages of applying with Papuan seminarians’

vocabularies, there is a study conducted through questionnaire items. The

statements in the questionnaire items are related to English vocabularies and

structures. The findings of the questionnaire items are showed in the following

table.

Table 3. The Seminarians’ Attitude Related to English Vocabularies and

Structures


3. Through drama performance I

am able to remember a lot of

new English vocabularies.

29 % 57 % 14 % -

4. Drama performance facilitates

me to remember the structure of

English sentences.

57 % 29 % 14 % -


51

Based on the study conducted through questionnaire items, six of seven

Papuan seminarians decide to support the two statements by choosing to strongly

agree and agree. In contrast, one student chooses to disagree to the statement. The

positive result also found in the statement that drama performance helps Papuan

seminarians remember the structure of English sentences. Six of seven students

also state their agreement by positioning themselves to agree and strongly agree.

Meanwhile, one other student disagrees to the statement. In short, it can be

concluded that through drama performance Papuan seminarians are able to

remember a lot of English vocabularies and English sentence structure.

Further, Brauer (2002) explains that movement and gesture are the

beginning of communication. Gesture starts as random movement and ends as

precise symbol which can be the starting step of writing. Therefore, the English

pantomime which is dealing with gesture or movements can be used as a starting

point to communicate to others. Also, English pantomime can be one step to start

writing English words as the interpretations of the English words or sentences.

Based on the writer’s experience, the pantomime used in “Jayanti

Formative English 2014”, is narrative pantomime. This narrative pantomime is

done by placing a seminarian as a narrator, while the others listen to the story and

express the story by making movements. The pantomime is started to be taught on

the second week of the course. Indeed, it was difficult to teach pantomime to the

Papuan seminarians for the first time. Mostly the difficulties were related to

concentration and memory of the students since this drama deals with the ability

to listen, analyze, and move. Sometimes the seminarians forget the meaning of the


52

sentence spoken by the narrator. However, after practicing, it turned out that

pantomime was a great chance for them to sharpen their listening skills which also

involved their bodily-kinesthetic intelligence.

It is worth noting that Papuan seminarians at St. Paul House of Spiritual

Formation have the opportunity to speak out loud through the story telling drama.

The story telling drama which was one of the techniques done in the program

“Jayanti Formative English 2014” was based on the narrative stories taken from

Aesop. This story telling drama was a new arrangement of one of the narrative

stories which was organized in dialogues or scripts. This story telling drama also

involved the students’ creativity because they should take a part the scripts writer.

Thus, instead of being the actors of the drama, which means the Papuan

seminarians practiced their listening and speaking skills, they also practice their

reading and writing skills through writing the drama scripts.

Bruner (1986) as cited in Brauer (2002) explains that human beings

actively create their own models related to their capacity to acquire language, the

objective reality of the real world, the culture in which they are immersed. In

other words, knowledge is constructed by each learner. Therefore, in this context,

Papuan seminarians construct their knowledge express their understanding toward

English learning through practicing some activities in drama performance such as

gesturing English stories and drama script, speaking and pronouncing English

words, and finally write English words and sentences.


53

The seminarians’ attitude toward the importance of drama performance to

develop their creativity and writing skill are presented in form of percentage by

the table below.

Table 4. The Seminarians’ Attitude Related to the Creativity and Writing

Skill



me to develop my creativity.

43 % 57 % - -


me to write English sentences.

29 % 43 % 29 % -

From the findings of questionnaire items, all seven Papuan seminarians at

St. Paul House of Spiritual Formation state their agreement to the statement that

drama performance improves their creativity. Then, there are five Papuan

seminarians who support the second statement that drama performance facilitates

the Papuan seminarians in writing English sentences. However, there are two

seminarians who disagree to the statement. By conducting the study, it can be

stated that the Papuan seminarians at St. Paul House of Spiritual Formation

recognize the importance of drama performance in improving their creativity and

their writing ability.

Based on Fontichiaro (2010), retelling stories through drama calls on

students to demonstrate two key skills. One is the ability to understand the

elements of story such as its plot, character, setting, and sequence of events. The


54

second is the ability to demonstrate that understanding through dramatic action

(p.31).

Related to English learning, Brauer (2002) believes that story telling drama

is able to make a text more interesting, lively, and memorable. Story telling

activity also provides the opportunity to practice pronunciation. Also, the listening

activity in story telling drama creates improvement on the other three skills

namely speaking, reading, and writing.

In order to support the analysis and the theories above, there are several

questionnaire items conducted to seven Papuan seminarians of St. Paul House of

Spiritual Formation. The findings of the questionnaire items are presented in form

of percentage as followed.

Table 5. The Seminarians’ Attitude Related to the Speaking Skills


5. Drama performance trains my

vocal organ to be accustomed in

speaking English.

57 % 29 % 14 % -

6. Drama performance improves

my ability to pronounce English

sentences well.

86 % 14 % - -

7. Drama performance is a good

learning method because

through drama performance I

86 % 14 % - -


55

can speak English in the correct

intonation.


learning method since through

drama performance I can speak

English in appropriate

expressions.

43 % 57 % - -


learning method because

through drama performance I

can use English contextually.

57 % 43 % - -


me to improve my memory.

57 % 29 % 14 % -

The statement about the strength of drama performance in training Papuan

seminarians’ vocal organ to be accustomed in speaking English is supported by

six of seven students. Conversely, one seminarian chooses to disagree to the

statement.

The use of vocal organ is linked to the pronunciation of the seminarians.

Thus, there is statement related to pronunciation of the seminarians. The statement

is that drama performance improves the Papuan seminarians’ ability to pronounce

English sentences well. Then, the seven Papuan seminarians choose to agree and

strongly agree to the statement.


56

The next statement is that drama performance facilitates Papuan

seminarians to speak English in the correct intonation. As well as other

statements, all seven Papuan seminarians at St. Paul House of Spiritual Formation

choose to agree to the statement. The agreement of those seven seminarians is also

shown in the next statement that drama performance facilities Papuan seminarians

to speak English in appropriate expressions. The seven Papuan seminarians of St.

Paul House of Spiritual Formation also choose to agree to the statement that

drama performance facilities seminarians to use English contextually.

Further, in accordance to the memory, drama performance is also a good

method to improve Papuan seminarians’ memory. This statement is supported by

six of seven seminarians who choose to agree to the statement. However, there is

one seminarian who disagrees to this statement.

As shown above, Papuan seminarians have positive attitudes toward the six

statements which are shown by their agreements to those statements. Therefore, as

stated in the six statements, drama performance has power to train Papuan

seminarians’ vocal organ to be accustomed in speaking English. Besides, drama

performance also improves Papuan seminarians’ pronunciation and memory.

Most importantly, through drama performance, Papuan seminarians are able to

speak English contextually using the correct intonation and appropriate

expressions.

4. Drama Performance Involves Cooperation to Learn English

Drama performance provides creative process which involves one of the

learning cultures of Papuans, specifically the communal activities. As explained


57

before, Papuans are known as people who learn through communal activities.

They commonly work and learn together to achieve their goals. Thus, the use of

drama performance enables Papuan seminarians to learn English in a small

community that is group work.

Working together in drama performance will enable Papuan seminarians to

build and develop their cooperation. It is because group work provides

opportunity for each Papuan seminarian to communicate to each other.

Additionally, each Papuan student will take a significant part to act on a stage.

Therefore, the cooperation will grow continually through being involved in all

practices such as preparation, rehearsal, and also D-Day of drama performance.

Based on the observation to seven Papuan seminarians at St. Paul House of

Spiritual Formation, all seminarians are able to develop their cooperation through

drama. To be certain, the following table presents the Papuan seminarians’

attitude in toward the statement that drama performance facilitates Papuan

seminarians to develop cooperation.

Table 6. The Seminarians’ Attitude Related to the Cooperation



me to improve cooperation.

43 % 43 % 14 % -

Most of the Papuan seminarians at St. Paul House of Spiritual Formation

state their agreement to this point of view. From the finding of the questionnaire,

it can be seen that six of Papuan seminarians agree to the statement that drama


58

performance facilitates Papuan seminarians to improve their cooperation.

Meanwhile, only one of the seminarians states their disagreement.

By having this finding, it can be concluded that drama performance is an

appropriate teaching technique for Papuan seminarians. It provides cooperation

between seminarians which perfectly matches to the Papuan seminarians’ learning

culture namely communal culture.


59

CHAPTER V

CONCLUSIONS AND RECOMMENDATIONS

This chapter consists of two parts. The first part is the conclusions of the

study. Meanwhile, in the second part, the writer would like to present

recommendation related to the use of drama performance as English instructional

method for Papuan seminarians.

A. Conclusions

This study was conducted to seek answer to two research questions. They

are: (a) what is the learning culture of Papuan seminarians (b) to what extent did

drama performance as instructional method lead Papuan seminarians into English

learning. Related to the first research question about the learning culture, the

writer finds out that Papuan seminarians have various learning cultures. They are:

(a) Papuan seminarians learn through kinesthetic activities (b) Papuan seminarians

learn through oral language (c) Papuan seminarians learn better in relaxing

atmosphere (d) Papuan seminarians learn through communal activities.

Due to those learning culture, the English learning for Papuan seminarian

should consider four main points. First, the English learning for Papuan

seminarians should involve physical movements as the instruction. Second, the

English learning for Papuan seminarians should involve oral practices. Third, the

English learning for Papuan seminarians should be able to create relaxing

atmosphere so that the Papuan seminarians can learn better. Forth, the English


60

learning for Papuan seminarians should involve the communal activities in form

of group works.

Meanwhile, in order to answer the second research question, which aims to

find out the importance of drama performance, the writer conducted an analysis

by comparing and contrasting the finding of the research to the drama theories

provided. From the results, it can be concluded that drama performance is an

appropriate instructional technique for Papuan seminarians’ English learning. In

the deeper analysis, drama performance facilitates Papuan seminarians’ English

learning in some characteristics. They are (a) drama performance facilitates

Papuan seminarians to develop confidence in learning English (b) drama

performance facilitates Papuan seminarians to create relaxing atmosphere in

learning English (c) drama performance facilitates Papuan seminarians in utilizing

kinesthetic and auditory ability to learn English creatively (d) drama performance

involves cooperation to learn English.

B. Recommendations

The first recommendation is for PBI. I have been in PBI for eight

semesters. Upon completion of the courses, I realize that PBI has formed me to be

a good teacher through the courses provided. One of the objectives of the courses

in PBI is to provide learners’ competence and performance as teachers. Through

the courses in PBI, I learn to develop creative and innovative learning activities.

However, most of the courses in PBI are designed to form teachers for students in

a society which is accustomed to the coding and decoding tradition. Meanwhile,


61

in order to teach students with oral tradition like Papuan seminarians, the

knowledge about Papuans’ culture is needed. Therefore, multicultural

understanding to various indigenous culture of Indonesia is better introduced in

one of the classes in PBI, for instance in Cross Cultural Understanding (CCU)

Class.

The second recommendation is addressed to future researchers. I realize

that this study is limited in scope since it is only focused on the instructional

technique for learning English. Hence, the further researchers may explore further

areas of inquiry, for instance the use of information and technology for Papuan

seminarians. By conducting follow-up researches, there will be developments for

educational system in Papua.


62

REFERENCES

Ary, D., Jacobs, L.C., Sorenses, C., & Razavieh, A. (2010). Introduction toresearch in education (8th ed). Wadsworth: Cengage Leraning.

Brauer, G. (Ed). (2002). Body and language: Intercultural learning throughdrama. London: Greenwood Publishing Group.

Brown, H.D. (2001). Teaching by principles, an interactive approach to languagepedagogy. New York: Addison Wesley Longman Inc.

Brown, H.D. (2005). Teaching by principles: An interactive approach to languagepedagogy (2nd ed). New York: Addison Wesley Longman Inc.

Brown, J.D., & Rodgers, T.S. (2002). Doing second language research. Oxford:Oxford university Press.

Budiraharjo, M. (2013). A phenomenological study of Indonesian cohort group'stransformative learning. Doctoral dissertation, Loyola University Chicago.Chicago: Loyola University Chicago.

Bullough, R. V., & Pinnegar, S. (2001). Guidelines for quality in autobiographicalforms of self-study research. Educational researcher, 30(3), 13-21.

Cohen,L., Marion, L., & Morrison, K. (2003). Research methods in education (5th

ed). New York: Routledge Falmer.

Cooper, K., & White, R.E. (2012). Qualitative research in the post-modern era:Contexts of qualitative research. New York: Springer.

Darling-Hammond, L. (1997). The right to learn: A blueprint for creating schoolsthat work. San Francisco: Jossey-Bass.

Fontichiaro, K. (2010). Active learning through drama, podcasting, and puppetry.Westport: Libraries Unlimited.

Fraenkel, J.R., & Wallen, N.E. (1993). How to design and evaluate research ineducation. New York: Mc Graw Hill, Inc.

Huffman, K. & Vernoy, M. (2010).Psychology in action. New York: John Willey& Sons, Inc.

Kovenbalch, P. H. (2005). Jesuit education and Ignatian pedagogy. RetrievedSeptember 15th, 2014 fromhttp://business.fordham.edu/faculty_resources/documents/Jesuit-Education-and-Ignatian-Pedagogy.pdf


63

Merriam, S.B. (2009) Qualitative research: A guide to design andimplementation. San Francisco: Jossey-Bass.

Merriam, S.B. (2010) Qualitative research: Examples for discussion and analysis.San Francisco: Jossey-Bass.

Merriam, S.B., & Kim, Y.S. (2008). Non-Western perspectives on learning andknowing. New directions for adult and continuing education, 119, 71-81.

Munro, J. (2013). The Violence of inflated possibilities: Education,transformation, and diminishment in Wamena, Papua. Retrieved October1st, 2014 fromwww.jstor.org/discover/10.5728/indonesia.95.0025?uid=3738224&uid=2129&uid=2&uid=70&uid=4&sid=21104971290147

Patel, N. V. (2003). A holistic approach to learning and teaching interaction:Factors in the development of critical learners. Bruner University.Retrieved October 23rd, 2014 fromhttp://cw.routledge/textbooks/0415332168/pdf/article.pdf

Prawismi, A.W. (2014). Program evaluation of Jayanti Active English Course2013. Unpublished undergraduate thesis. Yogyakarta: Sanata DahrmaUniversity.

Rogoff, B. (2003). The cultural nature of human development. New York: OxfordUniversity Press.

Rutherford, D. (2013). Living as it were in the stone age. Retrieved October 1st,2014 fromhttp://www.jstor.org/discover/10.5728/indonesia.95.0001?uid=3738224&uid=2129&uid=2&uid=70&uid=4&sid=21104971290147

Slamet, I. E. (1964). Kehidupan suku-suku Irian Barat. Jakarta: Bhatara.

Surya, Y. (2013, June 2). Tidak ada anak bodoh. Tempo, 126.

Thompson, G. & Evans, H. (2010). Thinking it through linking language skills,thinking skills, and drama. London: David Fulton Publishers Ltd.

Upton, S. (2009). The impact of migration on the people of Papua, Indonesia: Ahistorical demographic analysis. Retrieved October 1st, 2014 fromhttp://papuaweb.org/dlib/s123/upton/_phd.pdf

Willis, J. (2010). The current impact of neuroscience on teaching and learning. InD.A. Sousa & D. Ansari (Eds.), Mind, brain and education: Neuroscienceimplications for the classroom (pp. 45-68). Indiana: Solution Tree PressBloomington.


64

APPENDICES


65

APPENDIX 1:

The Transcript of Telephone Interview

A Telephone Interview on 9th November 2014

Research Participant: Nem

V : Halo

B : Halo, selamat siang

V : Selamat siang frater, apa kabar?

B : Selamat siang… Ini dengan siapakah?

V: Ini Miss Vivien.

B : Ya… ya… Nomor barukah Miss?

V : Iya, nomor baru supaya bisa menghubungi teman-teman di Jayapura.

B : Ya…Nomor lama tidak pakai lagi?

V : Masih, tapi yang ini untuk telepon saja. E… sedang buat apa frater?

B : Ya… Sa baru selesai cuci baju saja ini..

V : Sa mau tanya-tanya sedikit boleh?

B : Ah, iya.. boleh saja

V : Frater, frater itu berasal dari Merauke kan?

B : Ah iya

V : Nama desanya apa? Kampung…

B : Ya… Kampung… Kabe,

V : Tulisannya bagaimana?

B : Biasa saja, Kabe.

V : E.. itu masuk wilayah apa? Distrik begitu?

B : Distriknya Mambioman Bapai

V : Hah? Tulisannya bagaimana?


66

B : Biasa saja Miss, Mambioman Bapai

V : M? A?

B : Bukan, N

V : Oh, N

B : N-A-M-B-I-O-M-A-N spasi B-A-P-A-I dalam kurung Nambai

V : Oh.. N-A-M-B-I-O-M-A-N.

B : Iya… Dalam kurung?

B : N-A-M-B-A-I

V : Oke, Kabupaten Mappi ya?

B : Iya.

V : Oke. Frater, menurut frater belajar itu apa sih?

B : Ah, apa.. belajar itu… belajar saja Miss, cari ilmu supaya dapat ilmuto…itu sudah

V : (Tertawa) E.. Waktu masih di sekolah, kalau tidak bisa mengejakan PR,yang membantu siapa? Di rumah?

B : Tidak ada, nanti kami sore-sore pergi ke rumah bapak guru saja

V : O gitu, sekolahnya jauh kah tidak dari rumah?

B : Jauh…

V : SD, SMP atau SMA?

B : SD sekolah di kampung, jauh juga dari rumah.

V : Jauhnya seberapa? Kalau dari TOR kira-kira sampai mana ter?

B : Dari TOR sampai… sampai jembatan

V : Jembatan mana?

B : Jembatan jalan besar itu, dekat Jayanti Miss.

V : Hah? Sampai jalan besar?

B : Bukan, sampai jembatan.

V : Oh! Jembatan jalan yang sungainya besar itu kah? Yang dekat gedungapa itu.. warna biru.


67

B : Itu sudah.

V : Itu jauh to? Jalan kaki ke sekolah?

B : Iya, kami cari-cari jalan pintas begitu, biasa saja.

V : Sekolahnya pakai seragamkah tidak?

B : Tidak pakai. Nanti kalau mau ujian saja dapat seragam.

V : Maksudnya?

B : Nanti kalau mau ujian begitu ibu guru datang bawa seragam untuk ujian.

V : Lha ujiannya dimana memangnya?

B : Kami ujian itu di distrik.

V : Oh, jadi kalau hari biasa tidak pakai seragam, terus kalau mau ujian barudikasih serangam.

B : Itu sudah.

V : Lha kalau hari biasa?

B : Maksudnya bajunya?

V : Iya.

B : Kalau ke sekolah pake baju biasa saja, kadang tidak pakai baju, celanasaja, begitu biasa.

V : Seragam dengan topi, dasi dan sepatu?

B : Tidak, hanya baju dan celana saja. Tidak ada dasi, topi, tidak sepatu juga.

V : Berarti jalan kaki nggak pake alas kaki?

B : Tidak, biasa saja.

V : Oh begitu. Kalau guru-gurunya masuk setiap hari kah tidak, frater?

B : Tidak juga… mungkin mereka tidak betah to tinggal di kampung, nantikalau mau ujian saja datang kasih seragam..

V : Memangnya guru-gurunya tinggal dimana?

B : Ada yang tinggal dekat sekolah saja, ada yang di kota.

V : Kotanya jauh?

B : Tiga hari apa.. itu perjalanan.


68

V : Itu tiga hari naik apa? Mobil?

B : Tidak, naik perahu.

V : Kok naik perahu? E… Frater dari Merauke kan? Itu bukannya gunungseperti Pegunungan Bintang begitu?

B : Ah... tidak.. itu laut… Kalau seperti ___ itu dari gunung, saya dari laut,lembah-lembah begitu.

V : Wah, sa pikir itu gunung. Lalu bagaimana bisa naik kelasnya?

B : Maksudnya bagaimana?

V : E… Sudah boleh naik kelasnya kalau bagaimana?

B : Kalau sudah bisa membaca sedikit-sedikit begitu sudah boleh naik kelas.

V : Hmm… Sebentar…. Kelasnya lengkap kah tidak? Maksudnya kelas 1sampai kelas 6. Kalau SMP ya kelas 1 sampai kelas 3 begitu?

B : Oh itu iya iya, lengkap Miss.

V : Kalau guru-guru suka pukul kah tidak?

B : Ada yang pukul, ada yang tidak. Biasanya kami disuruh bawa kayubakar.

V : Maksudnya?

B : Kalau ada yang nakal begitu disuruh bawa kayu bakar, sagu atau ikanbegitu.

V : Maksudnya itu bawa kayu, ikan untuk siapa?

B : Untuk lauk bapak guru.

V : Hah? Kok begitu?

B : Iya, kita lari ke sungai saja tangkap ikan.

V : Wah, keren. Itu, guru-gurunya berasal dari mana saja?

B : Macam-macam, ada dari Jawa, ada dari Kei.

V : Maksudnya orang Kei begitu?

B : Iya, orang Kei tapi dari Jawa banyak.

V : Kalau SMP dan SMA bagaimana? Maksudnya lebih baikkah? Ataubagaimana?


69

B : Ah, sama saja, sa SMP di distrik, kalau SMA di SMK susteran sudahbaik.

V : Hmm… Guru-guru di sekolah sudah lengkapkah?

B : Lengkap bagaimana, Miss?

V : Maksudnya 1 pelajaran ada 1 guru begitu?

B : Ah, tidak juga. Misalnya IPA dan Bahasa Indonesia itu guru cuma 1 jadi.

V : Kalau Bahasa Inggris? belajarnya mulai di mana?

B : Itu sudah pernah tanya to.

V : Lupa e frat…

B : SMK Miss, sa tidak mengerti.. kalau Bahasa Inggris itu jadi.

V : Maksudnya gurunya mengajar bagaimana?

B : Kerja soal saja to, Miss, begitu..

V : Hmmm…. Itu di SMK ya?

B : Iya, iya.. itu sudah.

V : Tidak ada dengan bernyanyi, bermain drama, baca cerita seperti di TORkah?

B : Tidak, kalau di SMK gurunya tidak terlalu serius gurunya caramengajarnya, lain begitu.

V : E.. Lalu frater belajar lagi nggak di rumah? Belajar sendiri begitu?Mengulang?

B : Kadang-kadang saja kalau ada PR begitu, tulisnya susah jadi.

V : Jadi lebih suka yang bagaimana? Tidak tulis?

B : E… Iya, Yang tidak mengantuk sudah Miss, yang penting gurunyaserius, tapi sabar begitu.

V : Iya, kalau belajar dengan drama itu bisa membantu belajar nggak? kanbergerak terus to? Jadi nggak ngantuk.

B : Drama itu baru ini di TOR sa dapat. Miss Holy juga pernah kasih tapisebentar saja.

V : Iya, bisa membantu berarti dramanya?


70

B : Ah, iya. Ngantuk juga pas kasih hapal, tapi sambil bergerak to, jadi ingatsedikit..

V : Iya, waktu itu kamu bagus juga main dramanya, yang penting berani saja,pede.

B : Itu sudah, sa sudah berani sa bicara sedikit walaupun tidak lancar.

V : Iya, oke, terimakasih banyak ya Frat.. istirahat sudah..maaf menggangguini.

B : Ah, tidak. Tidak apa-apa, Miss. Sa tidak tahu mau buat apa jadi.

V : Oh iya, tolong nanti saya dikirimi nomor Samuel ya.

B : Dia ganti hp Miss, nanti sa tanya.

V : Oke, makasih ya frat, da...da…. Selamat hari Minggu

B : Selamat hari Minggu, Miss.


Research Participant: Nem

V : Halo

B : Halo, selamat malam…

V : Selamat malam frater, e.. ini Miss Vivien

B : Ya... Ya..

V : Ya…

B : Ya... Ya.. Nomornya saya simpan, iya (tertawa)

V : Ini saya mau tanya-tanya lagi boleh to?

B : Oh… ya… boleh…

V : Ah… Kok keberatan begitu suaranya?

B : Tidak..

V : Sedang buat apakah? Sedang buat apa? Mengerjakan tugas?

B : Ngerjain tugas

V : bagaimana?


71

B : Ada dari ini, apa, dari apa tugas

V : Ouw… saya bisa bantukah?

B : ya?

V : saya bisa bantu kah?

B : oh.. boleh.

V : Bagaimana bantunya?

B : (tidak jelas)

V : ouh.. untuk besok kah itu?

B : UAS (tidak jelas)

V : buat apa? UAS? Masih lama berarti…

B : Iya

V : Nanti kalau ada kesulitan Tanya saja dengan saya tidak apa-apa.

B : Ya.

V : Sa mau tanya ya, saya mau tambah sedikit yang kemaren…

B : Banyak kah tidak?

V : Nggak cuma sedikit saja, sa cuma mau tanya, buku-buku di kampungwaktu itu susah didapatkah tidak?

B : Buku apa?

V : Buku pelajaran

B : Yang di TOR itu?

V : Bukan, waktu masih di kampung,

B : Oh ya.

V : Susah?

B : Iya, di kampung.

V : ada buku kah tidak tapi, frater?

B : ya, buku pelajaran maksudnya?

V : Iya


72

B : Ada

V : Ada, buku tulis?

B : Ya ada.

V : Oh ya, beli begitu atau ada yang memberi?

B : Tidak, orang tua yang beli.

V : Orang tua yang beli?

B : Iya.

V : Oh, begitu. Tetapi kalau buku pelajaran seperti buku pegangan itu hanyaguru saja to yang punya?

B : ya,

V : Oh, berarti belajarnya nyalin dari papan tulis begitu?

B : iya, belajarnya nyalin dari papan tulis

V : Oh iya ya ya… Kalau menulis pakai apa?

B : Nulisnya?

V : Tidak pakai bolpen?

B : Iya..pensil saja

V : Itu pake pensil sampai kapan? SMP kah?

B : Sampai kelas 5.

V : Oh kelas 5.

B : Kelas 6 baru pake bolpen.

V : oh, iya-iya. Berarti dari SD, di mana? Di SMA ya? SMK?

B : SMK.

(Telepon terputus)


73


Research Participant: Nayak

V :Halo

K : Halo

V : Halo Frater, ini Miss Vivien.

K : Halo dengan siapa?

V : Halo, ini Miss Vivien.

K : Ah, iya Miss. Signal tidak bagus jadi,

V : Tadi siang saya telepon juga lho…

K : Iya, sa punya hp habis batere jadi.

V : Oh iya.

K : Ini nomor baru kah?

V : Iya, untuk telepon para frater jadi.

K : Yang lama itu bagaimana? Masih pakai kah tidak?

V : Iya, masih frat. Sa mau Tanya-tanya ini boleh?

K : Tanya apa, Miss?

V : Lanjutan yang kemaren itu, boleh to?

K : Boleh saja.

V : Kamu berasal dari Wamena kan?

K : Iya.

V : Nama kampungnya apa?

K : Pikae.

V : Ikae?

K : Pikae.


74

V : Tulisannya? I?

K : Tulis saja. P-I-K-A-E

V : Oalah P-I-K-A-E, Pikae.

K : Itu sudah.

V : Distriknya?

K : Pisugi.

V : P-I-S-U-G-I?

K : Iya…

V : Itu kabupatennya Wamena ya?

K : Bukan… Kabupaten Jaya Wijaya.

V : Lalu Wamena itu apa?

K : Itu ibukota.

V : Ibukota kabupaten ya?

K : (tidak jelas)

V : Dulu SDnya dimana, Frat?

K : Di kampung saja.

V : Oh, itu jauh dari rumah?

K : Sekolahnya?

V : Iya

K : Jauh, Miss. Tapi tidak terlalu.

V : Kalau dari TOR kira-kira kemana?

K : E… Ke pasar…

V : Maksudnya ke Nabire?

K : Ah, tidak… ke Pasar Karang

V : Iiwaaaa… Wah, jauh banget. Pasar Karang. Jalan kaki kah?


75

K : (tertawa) Ah, biasa saja. Sa jalan, tidak ada kendaraan jadi.

V : Pakai seragam nggak?

K : Kelas satu tidak, kelas dua saja sa dapat ranking lalu dikasih seragam.

V : Siapa yang kasih?

K : Ibu guru to yang kasih.

V : Oh gitu. Hadiah gitu? Dengan sepatu kaos kaki?

K : Ah.. iya. Kalo sepatu, tidak.. sa pernah dapat sepatu dari PI

V : Apa itu?

K : Pe… apa Indonesia. Ah, sa masih kecil, tidak tahu jadi.

V : Oh iya. Guru-guru di sekolah berasal dari mana Frat?

K : Orang asli saja..

V : Tidak ada dari luar Papua?

K : Ada juga, tapi tidak banyak.. orang asli saja sudah.

V : Tinggal di kampung juga?

K : Ada yang di kampung, ada yang di kota.

V : Kotanya jauh kah?

K : Seperti dari TOR sampai ke pelabuhan saja.

V : Oh iya. Setiap hari masuk kah tidak gurunya?

K : Ah.. tidak juga, malas-malas juga.

V : Tapi tidak pukul-pukul to?

K : Pukul-pukul juga, Miss. Biasa itu guru pukul kalau kami tidak bawa ubidan kayu bakar.

V : Oh begitu… untuk makan pak guru ya? Sama seperti cerita .

K : Iya, itu sudah.

V : Tapi kelasnya lengkap to? Maksudnya kelas satu sampai kelas enam.


76

K : Lengkap, sa naik kelas terus.

V : Ada ujian kah tidak sebelum naik kelas?

K : Tidak ada, kalau mau naik kelas ya bisa membaca menulis saja.

V : Wah, gitu ya.. Kamu SMP dan SMA tidak di seminari to?

K : Tidak, sa sekolah biasa jadi.

V : Berarti di kota?

K : Iya, sedikit kota saja. Itu sudah.

V : Guru-gurunya bagaimana di kota?

K : Bagaimana biasa saja Miss. Sekolahnya saja yang sudah lebih bagus.

V : Kalau gurunya lengkap? Maksudnya seriap mata pelajaran ada satu guru,gitu?

K : Ah, tidak juga, bisa dua.

V : Yang dua apanya?

K : Dua mata pelajaran satu saja guru.

V : Oh iya, kalau ada tugas atau PR begitu kalau nggak bisa mengerjakanyang membantu siapa?

K : Ah… tidak ada. Belajar sendiri saja.

V : Oh gitu.. Kalau guru-guru di SMA ngajar bahasa Inggrisnya gimana?

K : Ah.. Sa takut belajar bahasa Inggris itu.

V : Lho, kenapa?

K : Tara gampang to..

V : Iya sih ya.. biasanya belajar dengan cara apa sih?

K : Kalau guru mengajar itu biasa saja dengan tenses to, menghapal, lalulatihan kerja soal.

V : Oh gitu, banyak menulis ya?

K : Itu sudah. Miss ada buat apa ini?


77

V : Sa sedang mengerjakan tugas ini. Makanya saya telepon kamu, supayadapat informasi.

K : Oh gitu. Belum selesai kah kuliahnya?

V : Aaa… Belum, semoga semester depan ya.. Kalau sekolah dulu susahtidak dapat buku pelajaran?

K : Sa kira sudah selesai.

V : Belum. Kalau sekolah dulu susah tidak dapat buku pelajaran?

K : Apa?

V : Itu, dulu sekolah susah tidak dapat buku pelajaran?

K : Susah juga (tidak jelas).

V : Tidak jelas ini… Sudah dulu ya, lain kali kalau sa butuh informasi lagisa hubungi lagi tara apa-apa to?

K : Iya Miss

V : Oke deh, makasih ya…Upahmu besar di surga. Da..da….

K : Sama-sam Miss. Daaaa


78

APPENDIX 2:

The Data from Questionnaire Items


79


80


81

APPENDIX 3:

The Reflections of Papuan Seminarians


82


83


PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI · PDF file · 2017-12-17Jayanti, Papua....

Documents

Transcript of PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI · PDF file · 2017-12-17Jayanti, Papua....