CHAPTER I

Nature And Understanding Of Children's Literature

A. Definition of Children’s Literature
In Indonesian, the word literature comes from Sanskrit, which is derived from the root
sas-, which in derived verbs is interpreted as directing, teaching, and giving instructions or
instructions. The suffix tra denotes a tool based on the origin of the word in Sanskrit,
interpreted as alaat for teaching, manuals, and instruction manuals or teaching. Children's
literature is literature that talks about anything that concerns the issue of life so as to provide
information and a better understanding of life itself to the child.
Children's literature is the best literature that children read with diverse characteristics,
themes, and formats (Sarumpet, 2010:2). Children's literature is written based on the child's
point of view that reflects the feelings and experiences of children. There are four things
related to children's literature. First, children's literature is literature that is deliberately
intended for children such as Bobo, Mentari etc. Second, children's literature contains
stories that describe the child's experiences, understanding, and feelings. Third, children's
literature is literature written by children. Fourth, children's literature is literature that
contains moral values or education that is beneficial for children.
Here is a definition of children's literature according to other experts:
 Children's literature is a work of literature that can be specially understood by children
and contains about the world that is familiar to children, namely children aged between
3-12 years. (Puryanto, 2008 : 2)
 Hunt argues children's literature as a reading book read by, which is specifically suitable
for, and which specifically alsomemus a group of members who are now called children.
(Witakania, 2008 : 8)
 Children's literature is literature that reflects children's feelings and experiences through
children's fields. (Norton,1993)
 Children's literature is an imaginative work of art with a dominant aesthetic element that
meditates both spoken and written language that can be specifically understood by
children and about the world that is familiar to children. (Santoso, 2003, 8.3)
 Sarumpaet argues that children's literature is a literary work consumed by children and
taken care of and done by parents. (Santoso, 2003, 8.3)
 From some of the above urain can be concluded that children's literature is an
imaginative work in the form of language that contains children's experiences, feelings,
and thoughts specifically intended for children, written by children's authors as well as
adult authors.

B. Benefits and Purposes of Children’s Literature

In Tarigan's view (2011: 6-8), there are six literary benefits to children:
 Literature gives pleasure, joy, and enjoyment to children.
 Literature can develop children's imagination and help them consider and think
about nature, people, experiences, or ideas in various ways.
 Literature can provide new experiences that seem to be experienced by children
themselves.
  Literature can develop children's ideas into human behavior.
 Literature can present and introduce the experience to the children.
 Literature is the main source for the succession of inheritance from one generation to
the next.
In essence the purpose of children's literature is to provide information to children. In
addition to providing information, children's literature is also to provide entertainment and
benefits to children. Children's literature basically wants to present useful reading to
children.

C. The Characteristic of Children’s Literature

Based on the complex nature of children's literature, the author refers to the
characteristics of children's literature according to Puryanto (2008). There are eight
characteristics of children's literature that will be described below:
1. Contains an educational theme.
The theme has a function to interest someone reading. If the theme of the literary text is
interesting, then people will be interested in reading and even curious about the work
until they want to buy it. Similarly, for children's literature, if it has a theme that
educates many parents who will provide literary reading for their children. Stories that
are packed with educational themes will certainly be interesting and useful for children.
2. The groove is straight and not convoluted.
Literary texts especially fiction intended for children to read should be made as simple
as possible. Using a simple plot will make it easier for kids to enjoy the fictional text
they read. Children don't have to think hard about the storyline they're reading, like adult
fiction text.
3. Using settings that are around or that exist in the child's world.
Furthermore, to make it easier for children to recognize the setting of the place
especially, choose a background that is indeed recognized by children. For example,
schools, playgrounds, houses, rooms, etc. that children are familiar with.
4. Character and affirmation contain good transparency.
Characters in fictional text must have the fidelity to be imitated by the child. Children
are very great imitators, the level of imitation that children do is very strong. What the
child sees and hears is not rarely imitated, so choose a figure that can be used as an
example.
5. The language style is easy to understand and able to play a role in the development of
the child's language.
The easiest way to set an example and advise children is with stories. When reading
stories for children try to use simple but meaningful words for the child. The simpler the
word we choose, the easier it is for the child to absorb the message contained in a
fictional text.
6. The right person's point of view.
7. Imagination is still within reach of children.
8. The content of the literature text can add insight to the child.

D. The Function of Children’s Literature

 As one of the various literary works, children's literature has a main function according
to the function of literature in general as stated by Horatius, namely:
 Dulce et utile (in English, sweet and useful) ↔️Dulce (sweet) means very fun or
enjoyment.
 Meanwhile utile (useful) means the contents are educational.
These two functions are parallel to the view of Bressler (1999: 12) who calls these two
functions with the terms to teach 'teach' and to entertain 'entertain'.
1. The function of entertaining (dulce) means that literature provides pleasure in the
reader so that the reader feels interested in reading literature.
2. The teaching function (utile) means that literature provides advice and inculcates
ethics so that readers can emulate positive things in literary works.
In this case, literature enables humans to become familiar with themselves, the
environment, and various life problems.

E. Genre Children and Their Description

There are 6 Genres in Children's Literature. Hopefully we can understand each of these
genres, to make it easier for us to categorize Children's Literature, and to make it easier for
us to find children's literature that is suitable for children who will enjoy these literary
works.
1. Realism
Realism- Real can be defined as something real, told based on real events or it may
not actually happen but it is still said to be real because it is a series of events that
exist in human life. told logically or make sense. The story line, conflict and its
resolution must also be told in a straightforward, logical, and logical manner.
Realism literary works are categorized into 4 groups, namely;
a. Realism stories
Realism Stories means telling a character, in this case the protagonist, who
resolves conflicts that occur in the story line. Between characters, plot and
conflict must be related. Problems in the plot can be in the form of personal
problems, problems between individuals, and social problems. For children's
stories, make the story realism simple but still maintain the logical story. The
author must be able to influence the child to solutions that are beyond his
expectations. This can increase the increase in moral and social values in
children.
b. Animal Realism
Animals that can observe different animals with stories or stories about the
world of fiction. Animal Realism here depicts animals in real art without fiction
depicting animals that can talk like humans. Animal Realism which tells about
the shape of the animal's body itself, habitat, how to survive, food, adaptation,
the process of reproduction and others. In order to draw children's attention to
Animal Realism, one needs to pay attention to the interesting yet logical one. For
example, a lion finding a way of survival, or the life of a lion in the wild, and so
on.
 c. Historical Realism
A story about history, which means a story that happened in the past that is
retold. Even though the storytelling is done in the present, the depiction of the
story such as characters, plot, atmosphere, conflict must match what happened in
the old time.
d. Sports Realism
A story related to the world of sports such as football, badminton, basketball,
swimming, etc. The things that are told can be in the form of figures such as
David Backham, a figure in the world of football, Michael Jordan, a figure in the
world of basketball, etc. Can also tell stories about how to do the sport and the
benefits of the sport.

2. Formula fiction
Formula fiction is a type of literary work that has certain patterns that distinguish
it from other works. Formula fiction in its development is more limited. There are 3
types of Formula Fiction works;
a. Mysterious and Detective Stories
Mysterious Stories write stories that arouse the reader's curiosity, and leave the
reader guessing what will happen next. Meanwhile, Detective is a story about
research carried out by a character to spy on something.
b. Romantic story, Romance stories are closely related to romance between men
and women.
c. Serial Novels
Serial novels are a type of novel with separate editions but still in the corridor of
one unity. For children's serial novels, try to keep the plot or characters from
experiencing significant changes. This is intended to make it easier for children
to understand and enjoy the story line.

3. Fantasy
Fantasy can be understood as the willing suspension of disbelief (Coleridge, via
Lukens, 1999: 20). Fantasy is a story beside the world of reality. This means that
there are deviations that are difficult for logic to accept. However, due to the unique
presentation, the fantasy story can then be accepted. Fantasy is divided into 3
categories:
 Fantasy Stories
Fantasy stories tell themes, stories, lines of conflict and even characters who are
beyond human reasoning in general. For example, the Tinkerbell story is a story
about a fairy world where this little fairy is shaped like a human in general and
talks like a human in general. But the story line and the conflict and its
resolution are outside reality.
 High Fantasy
The High Fantasy story begins with a focus on the conflict between good and
evil. Readers are made sure in advance of the story line that goes beyond human
reality. Example: the film The Lord Of the Ring.
  Science Fiction
According to Robert Heinlein science fiction is speculative fiction where the
author takes postulates from the real world as we know it and relates facts to
natural law (via Lukens, 1999: 23). Science fiction usually tells about future
circumstances. As an example of a robot that controls the earth.

4. Traditional Literature
Traditional literature is literature that is hereditary, whose creator is unknown and is
universal. Because it is hereditary and has been told by word of mouth, Traditional
Literature is put on record so that its existence does not disappear. Traditional
literature is divided into 6 categories;
 Fable
Fable is a story about the animal world. In the storytelling is the personification
of humans. in this case the animal described actually describes human behavior.
The fable is made with the aim of providing moral value to the reader while
continuing to develop his imagination. Examples of animals that are often used
as characters in fables are mouse deer, monkey, turtle, squirrel, etc.
 Folk Tales
Fairy tales are a form of traditional stories that are usually used as a lullaby for
parents to their children. Apart from being a lullaby, fairy tales are also intended
to teach moral teachings to children by telling fairy tales. Fairy tales usually tell
good and evil characters who are sure to be won by good characters. Example:
onion and garlic.
 Myth
Myth is a story that is not yet believed to be true. Myths are usually stories about
things that are supernatural, divine, or where something happened. Even though
the truth is not yet known, people still accept it and some believe it. Example:
the myth about Nyi Roro Kidul.
 Legend
Legend actually looks like myth. The difference is if myths are often related to
occult things, Legends are more about historical figures. Even though the truth
cannot be justified, the public can still accept it.
 Epic
An epic is a story in the form of a poem or poetry whose author is not clear. The
epic tells of a heroic figure whose characteristics are beyond the reach of humans
in general. The setting of time and place in the Epic story is also unclear where
and when.

5. Poetry
Poetry is a beautifully arranged series of words. The form is short, clear, and concise
but still represents the entire story. Poetry can be in the form of songs such as
cublak-cublak suweng or it can be in the form of narrative poetry, which is a
narrative poem about something such as mother's sacrifice, friendship, the beauty of
nature, etc.
 6. Nonfiction
Nonfiction is a story based on data and facts or things that really happened and are
not imaginary. Categorized into 2 parts;
a. Information Book
Information books are books related to matters that provide information about
concepts, cause-and-effect relationships, facts, etc. Examples of children's
encyclopedias.
b. Biography
A biography is a book containing a person's life history. not everything can be
written in a biographical book. There are certain limitations. However, a
biography can also be written about a character's life journey until the book was
written. For children's reading, this biographical book is usually written and
recorded in comic form in order to build children's imagination.

Children's literature is literature that emotionally and psychologically can be responded

to and understood by children, and it generally departs from concrete facts and is easy to
imagine.The limited content of children's literary content in accordance with the emotional
and psychological reach of the child, among other things, is the characteristic of children's
literature. Children's literature can tell a story about anything, even those that do not make
sense according to adult standards. For example, it tells of an animal that can talk, act, think
and feel like humans. Imagination and emotions of children can accept the story naturally
and that's how it should be according to the child's understanding. As with other types of
literature, children's literature also functions as a medium for education and entertainment,
shapes children's personalities, and guides children's emotional intelligence. Education in
children's literature contains mandates about morals, the formation of children's
personalities, developing imagination and creativity, and providing knowledge of practical
skills for children. The function of entertainment in children's literature can make children
feel happy or happy to read, happy and happy listening to stories when they are read or
recited, and get pleasure or inner satisfaction so as to guide their emotional intelligence.
CHAPTER II
Imaginative and Non-imaginative Literature

A. Literature Work
The presence of literature works expressed by the author is a matter of life and human
life. Literature works are a picture of the life of the author's design. Life in a literature work is a
life colored by the attitude, background, and beliefs of the author. Therefore, truth or reality in
literature works cannot be the same as the reality that is around us. Reality or truth in literature
works is the truth of belief, not the sensory truth as we see everyday.
Luxemburg (1984:4-6) explains some of the characteristics that always arise from the
definition of literature, namely :
1. Literature is a creation or creation, not merely imitation.
2. Literature is autonomous (creating its own world) regardless of the real world.
3. Literature has a characteristic of coherence or harmony between the form and its
contents.4.Sastra serves synthesis (middle way) between conflicting things.
4. Literature tries to reveal things that are not revealed.

Similarly, Luxemburg, Wellek and Warren (1993:22) give the literature nature, namely
"Literature has invention nature, showing the understanding of new discoveries some
imaginary, new creations".
Furthermore, Sumardjo and Saini (1988:5-8) applied for 10 requirements of quality
literary works, namely:
1. Literature works are an attempt to record the content of the literary soul.
2. Literature is communication, meaning it can be understood by others.
3. Literature is a regularity, meaning it is subject to the rules of art.
4. Literature is consolation, meaning it is able to give satisfaction or pleasure to its readers.
5. Literature is an integration, meaning there is harmony between the content of the
language form and the personal expression of the author.
6. A quality literature work is an invention.
7. A quality work is the totality of the expression of the writer.
8. A quality literature work is a work that means dense content and form of language and
expression.
9. Quality literature works are the result of interpretation of life.
10. Quality literature works are a renewal.

B. Imaginative Literature
Imaginative literature is literature that seeks to explain, explain, understand, open new
perspectives, and give meaning to the realities of life so that humans can better understand and
behave properly towards the realities of life. In other words, imaginative literature seeks to
perfect the realities of life even though the facts or realities of everyday life are not that
important in imaginative literature.
 These include poetry, fiction or narrative prose, and drama. Poetry can be grouped into
three, namely epic poetry, lyric poetry, and dramatic poetry. Narrative fiction or prose is
divided into three genres, namely novels or romances, short stories, and novelets ("short"
novels). Drama is a literary work that tells the story through the dialogues of the characters.
In the end, all discussion of imaginative literature must come down to how to
comprehend the three types of imaginative literature comprehensively. Without this
understanding, what is learned in the nature and type of imaginative literature is only a
decoration of knowledge that will quickly fade.
Imaginative literature has characteristics :
 The content is fictional.
 Use language that is connotative.
 Meets the aesthetic requirements of the art.

The forms of literary works including imaginative literary works are :

1. Poetry :
 Epic.
 Lyrics.
 Dramatic.
2. Prose :
 Fiction (novels, short stories, romance).
 Drama (prose drama, poetry drama).

C. Non-Imaginative Literature
Non-imaginative literature has several features that easily distinguish it from
imaginative literature. There are at least two characteristics with regard to this literature.
1. First, in this literary work the factual element is more prominent than the
imagination.
2. Second, the language used tends to be denotative and even if a connotative appears,
it really depends on the writing style of the author. The similarities, both imaginative
and non-imaginative literature, both fulfill the aesthetic of art (unity = wholeness,
balance = balance, harmony = harmony, and right emphasis = center of emphasis of
an element).

Non-imaginative literature itself is literature that emphasizes factuality rather than

imagination and is supported by the use of language that tends to be denotative. In practice, this
type of non-imaginative literature consists of works in the form of essays, criticisms,
biographies, autobiographies, memoirs, diaries, and letters.
Non-imaginative literature has characteristics :
 Its content emphasizes the factual / factual elements.
 Use language that tends to be denotative.
 Meet the aesthetic elements of art.

Forms of literary works including non-imaginative literature :

 An essay, which is a short essay on a fact that is explored according to the author's
personal view.
 Criticism is an analysis to assess a work of art or literature.
 Biography, is a story about someone's life written by other people.
 Autobiography, is a biography written by the character himself.
 History, is a story about the past of a society based on written or unwritten sources.
 Memoirs, are autobiographies about some life experiences only.
 Diary, is a person's record of himself or his environment which is written regularly.
CHAPTER III
ELEMENTS OF STORY AND ELEMENTS OF POETRY

1.1 The Elements of Story

A short story is a story that is told short or briefly not more than 10,000 words.
The short story also gives the impression because the story only focuses on one
character, one event, or one problem. Because the story is not too long, short stories are
suitable for those of you who are still practicing reading.
A. Intrinsic Elements in Short Stories:
1. The theme is the main idea of a short story.
2. Character and characterization
In characterization, the character and character of the character are written.
Characters are actors in a story. Characters are divided into main characters and
additional characters.
• The main character is a character who interacts directly or is involved in the
conflict.
• Additional characters are characters that are only revealed in the short story
without any interaction by characters or characters who are not involved in the
conflict.
• Characterization is the character or character of the characters contained in a
story.
Example: The Bandung Bondowoso character in the story of Roro Jonggrang has
a persistent character.
3. The background is divided into place setting, time setting, and atmosphere setting.
• The setting explains where the events or events in the short story occur.
• The time setting explains when the events or events in the short story occur.
• The setting describes a picture of the atmosphere in a short story.
4. The plot or plot is a chronological sequence of events. The grooves are divided into
forwarding grooves, reverse grooves, and mixed grooves.
• The progression is a short story with events starting from the beginning to the
end.
• Plot backward is a short story with events that start from the end of the story to
the beginning of the story. Backward flow is also known as a flashback.
• Mixed plot is a short story plot which is a combination of forwarding and
backward plot
The following is a schematic of the flow:
• Orientation: determining events, creating a visual image of the setting, the mood,
and the timing of the story. character recognition, and the direction to
complications.
• Series of Events: the story continues into the events.
• Complication: the story moves towards conflict (false contradiction) or the peak
of the problem which affects the time setting and characters.
• Resolution: the solution to the problem, namely how the author ends the story.
 5. The point of view contains the author's view of the short story, the author may be the
first person or the third person.
• First person point of view: is that the author is directly involved or the first
person in the story is characterized by the use of personal pronouns I, I, and so
on.
• The third person point of view: is that the author is not directly involved in the
story, which is characterized by the use of personal pronouns such as him, them,
etc., or by using the character's name. The third-person point of view is divided
into the third person is focused and the third person is all-knowing.
6. Mandate is a moral message conveyed by the author to the reader through short
stories.
7. Language style serves to give a more attractive impression by using the figure of
speech.
B. Extrinsic elements
In connection with the author's background, social background, and other
conditions that affect the birth of a work. Raisa Kamila, the short story author comes
from Aceh. So more or less, the story is related to his daily life. Social conditions are
also a strong building block for this short story. It can be seen that Indonesia consists of
various races, ethnicities, cultures, and religions. This short story describes a piece of
this diversity.
1. Author background
Are the factors from within the author himself that influence or motivate the
writer in writing a short story. For example, the author's personal experience, the
author's biography, and the author's literary genre.
2. Community background
Community background is the factor in the writer's community that influences
the writer in writing the short story. For example, social, economic, and cultural
conditions.
3. Value or outlook on life
These are the values inherent in the writer's environment that influence the writer
in writing short stories. For example, religious values, moral values, and social
values.
There are good deeds that we can imitate and there are bad deeds that we should
avoid. The values contained in the short story, namely:
• Religious values
Religious values are matters related to religious teachings. The values contained
in this short story can be used as lessons in real life.
• Social values
Social values are values that can be learned from the interactions of the
characters in the short story. For example, interactions with other figures, the
environment, and the surrounding community.
• Moral values
Moral values are the values contained in the story relating to the morals or ethics
that prevail in society. In a short story, moral values can be a good value or a bad
value.
 • Culture value
Cultural values are values relating to the prevailing customs, traditions, and
customs.

1.2 The Elements of Poetry

Just like other literary works, poetry has the building blocks for it to become a good
poem. The building blocks of this poetry are poetry factors that shape it from within and
from outside so that it can eventually become a beautiful poem.
A. Intrinsic Elements
The intrinsic element is an element contained in a literary work (poetry). The
intrinsic element is divided into two, namely, the mental element and the physical
element.
1. Theme, is the basic premise for developing and composing poetry.
2. Taste, namely the poet's attitude towards the subject matter contained in his poetry.
The expression of themes and feelings is closely related to the poet's social and
psychological background, for example, educational background, religion, gender,
social class, position in society, age, sociological and psychological experiences, and
knowledge.
3. Tone, namely the poet's attitude towards the reader. Tone also relates to theme and
taste. Poets can convey themes in a patronizing, dictating tone, work with the reader
to solve problems, leave problems to the reader, in an arrogant tone, dismiss the
reader as ignorant and despise, etc.
4. Mandate/purpose, namely the message the author wants to convey to readers or
listeners.
5. Language style, in a poem you will find a lot of words that are connotative,
exaggerated, or seem self-deprecating. This is what is called a style of language in
poetry. Usually, each writer tends to have his language style, which is most easily
seen through figures of speech, such as personification, metaphor, euphemism, and
sometimes even using irony. So, language style is a way of using language in an
essay or how an author expresses something that will be put forward.
6. Rhyme, namely the similarity of tone or sound. Rhymes can be found not only at the
end of each line or line, but can also be found between each word in the line.
7. Typography, which is a form of writing poetry. In general, poetry is often found in
the form of lines, but some poems are arranged in fragments even in forms that
resemble apples, zigzags, or other models.
8. Imagery, poets also often create imagery or imagery in their poetry. The image can
be in the form of a word or a series of words that can clarify what the poet wants to
convey because it evokes a sense of the reader's imagination through sensing.
9. Concrete Words, there is a poet's desire to describe something more concretely or
tangibly. Therefore, words were chosen that made everything seem touchable. For
poets, this is felt more clearly.
B. Extrinsic Elements of Poetry
1. Biographical element, this biographical element is the background of the author. The
background is quite influential in making poetry, for example, a poet whose
 background comes from a poor family, then if he makes a poem it will touch the
hearts of the readers, who are carried away from the writer's background so that he
can be impressed in a poem.
2. Social element, the social element is very closely related to the condition of society
when the poem was written. Suppose that the poem was made when the New Order
was nearing its end. At that time the condition of the community was very chaotic
and the state of the government was very messy so that the poetry that was made at
that time was a poem that contained allusions to society.
3. Value elements, the value elements in this poem include elements related to
education, art, economics, politics, society, culture, customs, law, and others. The
value contained in poetry is the main attraction so that it greatly influences whether
the poetry is good or not.

CHAPTER IV
DRAMA BUILDERS

A. Definition of Drama
The word drama comes from Greek; Strictly speaking, the verb dran means "to do, to
act or to do". Thus, in terms of etymology, drama prioritizes action, motion, which is the
essence of every dramatic essay. So it is not surprising that Moulton says that "drama is
life presented in motion" (life presented in action) or Balthazar Verhagen who argues that
"drama is the art of painting human traits and attitudes with motion" (Slametmuljana in
Tarigan, 1985: 70).
Drama is an imaginative literary genre whose physical appearance verbally shows
dialogue or conversation among the characters (Budianta et al., 2002: 95). In drama
performances, the most important thing is the dialogue or conversation that takes place on
stage because the dialogue determines the content of the drama story being performed.
From the above opinion, it can be concluded that drama describes an action that is
carried out by the characters according to the story and in carrying out these actions some
goals must be fulfilled and some things hinder achieving that goal. Drama is a show that
tells a story, the media used to convey the story through the movements and dialogues of
the characters.
Drama is a little different from theater. Has the same meaning, but different
expressions. Theater comes from the Greek word Heathrow which means a building/place
of performance. The drama also comes from the Greek word dran which means to act, act,
or act. The definition of drama tends to the literary art equivalent of poetry, prose, or
essays. Drama can also be interpreted as an event about humans. This event or story about
humans is then raised to a stage in the form of a show, then it can be called theater. In
conclusion, the theater is created because of drama.
B. Purpose of Drama
 The main purpose of drama is to be performed on a stage, but drama can also be read
like poetry, prose, or a novel. Also, as a means of entertainment and talent development
media.
C. Characteristics of Drama
The drama has the following characteristics:
1. Drama is modern prose produced as a script to be read and performed.
2. Drama scripts may take the form of prose.
3. Drama consists of dialogue composed by the author with an embodied character.
4. The author's thoughts and ideas are conveyed through a dialogue of his characters.
D. Elements of Drama
1. Intrinsic Elements
The intrinsic elements of drama are elements that are directly present in the
drama text.
a. Figure and Personnel
Characterization is the process of performing a character as a character in a
drama performance (Budiyati, 2009: 26). Characteristics must be able to create
the image of a character. The process of characterization can be called a
characterization. So it can be concluded that characterization is a depiction of a
story character through the traits and attitudes in a story
b. Background
The background has a meaning that includes the components of space and
time, an event occurs along with aspects of the atmosphere (Budiyati, 2009: 31).
Space or place aspect describes the place where the event occurs. The time aspect
describes the time that occurs in the whole story. The aspect of the atmosphere is
related to the condition of the surrounding environment.
c. Language
Language is an analysis of dialogue in a drama script. According to
Budiyati (2009: 32), a dialogue is a conversation between two or more characters.
With dialogue using communicative spoken language, you can imagine thoughts,
characters, and behavior conflicts. The focus of language analysis is the choice of
words and sentences as well as thoughts on the characters.
d. Plot
Flow is a series of events connected based on the law of cause and effect;
and is a pattern, a linkage of events that moves the storyline towards conflict and
resolves it. The plot has a structure, namely the initial stage, the complication of
the story (as the middle stage), the climax, the breaking up, and problem-solving
as the final stage.
e. Theme
Themes are the cultivation of ideas or story main ideas that are supported by
characters, plot, and story settings that are implemented in dialogues.
f. Mandate
The message is the message that the playwright sends and how the solution
is given by the author. Mandate deals with the meaning of the story and is
subjective.
2. Extrinsic Elements
 Extrinsic elements include elements that are outside the drama text but have
their role in the drama text. The extrinsic elements of drama are:
a. Author's curriculum vitae
b. The principle of the author's life
c. Socio-cultural elements of society
E. Types of Drama
1. Based on the time
Based on the period, drama can be divided into two:
a. New drama / modern drama: This drama has the aim of providing education to the
general public with the theme of everyday life
b. Old drama / classical drama: Fantasy dramas that generally discuss supernatural
powers, royal or royal life, the life of gods, extraordinary events, and so on
2. Based on the contents of the story in the drama
In essence, there are five dramas based on the contents of the story, namely:
a. Tragedy drama: an act that depicts the character in sadness, gloom, despair,
destruction, and death
b. Comedy dramas: light plays that are entertaining, satirical, full of jokes, and end
in happiness.
c. Tragicomedy drama: Combination of tragedy and comedy-drama
d. Melodrama: exaggerated tragedy.
e. Farce: exaggerated comedy
CHAPTER V
Appreciation of Children's Literature

A. Understanding Pantun
a. Understanding Pantun
Pantun is a work that can / can entertain and can also reprimand. Pantun is an expression
of feel / feeling as well as thoughts, because the expression is arranged with words in such a
way that these words can be very interesting to hear and read. Pantun shows that Indonesia
has its own characteristics in educating and also conveying things that are certainly useful.

b. Characteristics of Pantun
The main characteristics of the Pantun are as follows:
 Pantun has a verse, Each verse of the pantun is arranged by two lines. Onestanza
consists of 4lines.
 Each line consists of 8-12syllables.
 Each line consists of 4-6 words
 Each pantun consists of sampiran and alsoisi. The first & second lines are a sampiran,
the third and fourth lines are a content. (Although indirectly sampiran is not relatedto
the content, it would be better if the words on sampiran are also a reflection of the
content to be said orconveyed).
 Pantun abab / can also be aaaa- (which cannot use aabb or other pantun).

According to Abdul Rani (2006: 23) says that the characteristics of the pantun are as
follows:
 Consists of fourlines
 Each line consists of 9 to 10words
 The first two lines are said to be sampiran while the next two lines contain what the
chanter means which in that section it is said with the contents of the pantun.

c. Pantun terms
The terms of the pantun are as follows:
 One verse of the pantun consists of 4lines
 Lines -1 and 2 are sampiran and lines 3 and 4 are the contents of thepantun
 One line of pantun consists of 8 to 12syllables
 Pantun abab or aaaa

d. Kinds of Pantun
The kinds of pantun can be categorized into 2 types, among others, are as follows:
 Based on the Life Cycle(Age)
o Pantun Anak is a poem that has a connection with childhood where the rhyme
describes the meaning of joy or sorrow.
o Pantun Orang Muda is a poem about a youthful life which contains or means an
introduction, a relationship of love or romance and household, feelings (affection,
compassion, envy, etc.), as well asfate.
o Parents' Pantun is a poem about parents and also about culture, religion, advice and
so on.

 Based on thecontents
o Pantun Jenaka is a poem that contains funny and interestingthings
o Pantun Advice is a poem which contains advice with the aim of educating, as well as
providing moral advice, character,etc.
o Pantun Teka-Teki is a poem that contains apuzzle.
o Figurative Pantun is a poem which contains an allusion that can be used to conveyall
kinds of thingsimplicitly.

e. Linguistic Rules of the Pantun Text

The linguistic rules used in a pantun text are very different from anecdotal texts,
following their linguistic characteristics:
1. Diction
choice of words that are appropriate and suitable in their use in an effort to convey an
idea so that a certain impact is obtained as expected.
2. Figurativelanguage
the language used by the chanter to be able to show meaning indirectly. Generally in
the form of a proverb / expression.
3. Image
depiction created by the chanter in an indirect way. So that it is as if it is depicted in a
poetry text that can be seen (visual images), heard (auditive images), or also felt
(tactile images).
4. Sound
generally arises from figures of speech, images, and also diction which are created
when telling rhymes. The bias contains rhyme (rhyme) and rhythm (rhythm)
elements. In an effort to beautify the rhymes and to be able to remember them more
easily.

B. Understanding Syair
a. Definition of Syair
Syair is a form of old Indonesian literary work originating from Persian or Arabic. Poetry
has its own characteristics. There are several characteristics of syair that are easily
 recognized. According to the online Big Indonesian Dictionary (KBBI), syair is defined
as an old poem, each of which consists of four lines and has the same ending sound. As
for the term, the word or term 'syair' comes from Arabic, namely Syi'ir or Syu'ur which
means 'feeling that is aware'.Poetryin Malay literature refers to the meaning of poetry in
general. However, in its development, this verse has undergone changes and
modifications so that the lyrics are designed according to the circumstances and
situations that occur. Syair is well-known as a medium for expressing the heart's content
about an event, incident, person, orfeeling.

b. Syair elements
 Intrinsic Elements of Syair
o Themes are the main ideas that poets want to convey through their lyrics to
readers. The themes used by the poet vary. Examples include humanity, religion,
nature, beauty, education, character, and soon.
o Feeling, is something that the poet wants to convey / express in the form of his
characteristics, point of view, character, and soon.
o Tone, an intonation or emphasis in the content of a poem which can be in the form
of mocking, advising, joking, being happy, criticizing, being merciful and soon.
o Mandate, is a message or advice that the poet wants to convey to each reader.
Generally, the message in the poetry is interpreted by the reader according to the
reader'sunderstanding.

 Extrinsic Elements of Syair

o The background of the syair'slife.
o Syair education.
o Cultural and socialbackground.
o The customs or habits of the localcommunity.

c. Characteristics of Syair
 Consists of 4lines

The first syair is characterized by four lines. A syair can consist of several Syair.
However, in each stanza, the verse must consist of four lines.
An example is the syair by St. Alisjahbana's destiny:

Stop the story of the king of Hindustan(row 1)

There is also a word(line 2)

Abdul Hamid Syah, the Sultan(line 3)

Sit down, king, reveling(line 4)

The syair fragment above shows the number of lines in the verse, which is four lines.
 Each line consists of four to sixwords

Further characteristics of the syair are six to six words in each line. Here's an
example:
Paksi / Simbangan / supposedly / name (4 words)
Beautiful / and / cute / as well / her behavior (5 words)
His eyes / diamonds / radiance / light (4 words)
Beak / gemala / not / peerless (4 words)

 Each line consists of eight-12syllables

Each line of syair has eight to 12 syllables. A syllable is the combination of one or
more consonants and one vowel. For example, the word dictionary consists of two
syllables: ka and mus. Here's an example:
Ter / bang / it / Sim / bang / an / pe / ri / -pe / ri / (11 syllables)
Lin / bag / di / Kam / pung / Ba / yan / Jo / ha / ri / (10 syllables)
Ter / li / hat / lah to / pa / da / pu / tri /nya / Nu / ri / (12 syllables)
Mu / ka /nya / ce / mer / lang / ma / nis / ber / se / ri / (11 syllables)

 All lines arecontent

Unlike the pantun, which has sampiran at the beginning of its two lines, syair only
consists of the contents in its four lines. These Syair characteristics distinguish it from
other old Pantun and syair.
Each line in Syair usually conveys a story or message. Here's an example:

Beginning our story begins

The antiquity of the maritime

era Origin of a country
The emergence of the king's kingdom in the
temple The kingdom was called Negara Dipa
The first king of Empu Jatmika

The only son of Mangkubumi and Sitira

Origin of Keling Country in the Land of
Java Mangkubumi a rich merchant
A wise relative of the
king Turns out a pretty
girl
Empu Jatmika is said to be his name
  Have a final syair aaaa

Another characteristic of syair is that it has a pantun or ending aaaa on each line.
This is different from the characteristics of the pantun that have abab pantun. Example:

Paksi Simbangan is said to be the name

Beautiful and sweet as well as his
behavior His eyes were diamond shining
light
The beak is unmatched

 Contains a story ormessage

Syair usually contains a story or story that contains elements of myth, history, religion
/ philosophy, or mere fiction. Poetry can also contain wise advice or advice.

d. Types of syair
 Panji syair
 Panji syair is the syair of solace. These Syair usually have the theme of stories of
wandering and war. In the syair of the banner, there are elements of a love story.
 Romantic syair
Romantic syair contains about romance which is usually found in consolation tales
and folk tales.
 Figurative syair
Figurative syair conveys a message in a figurative form. These syair are also called
animal and flower syair. Its content is an allusion or allusion to an event.
 Historical syair
Historical syair is syair based on historical events. Most of the historical syair is
about warfare.
 Religious syair
Religious syair is the most important syair. Religious syair is divided into four,
namely Sufi syair, syair about Islamic teachings, syair from the prophet's narrative,
and syair of advice.

e. Examples of syair
The syair of the Parrot by Sultan Badaroedin

Paksi Simbangan is said to be the name

Beautiful and sweet as well as his
behavior His eyes were diamond shining
light
The beak is unmatched

The Flying of the Balance is fairy-

tale Lintas in Bayan Johari Village
Look at his daughter Nuri
Her face was bright, sweet, radiant

The balance glanced up

geta Same as meeting eyes
Flaming spirits melt love
Tired and lethargic feeling of the members

C. Difference between Pantun and syair

Here are 4 differences between pantun and syair, which are as follows:

1. The pantun in the first and second stanzas is sampiran, the third and fourth stanzas are
 content. While in Syair the entire stanza is the content of thepoet.
2. Pantun has sampiran and contents, while Syair does not have sampiran andcontent.
3. Pantun rhymes abab or aaaa, while syair only rhymes aaaa.
4. In pantun the language used is the domestic language,while in Syair the language used
must be the same.

D. Similarities of Pantun and syair

Here are 4 equations of pantun and syair, which are as follows:

5. Pantun and syair usually consist of four stanzas

6. Pantun and syair are classified as rhymerhythms
7. Each Pantun and syair consists of 8 to 12syllables
8. Pantun and syair are part of oldpoetry
CHAPTER VI

STORY ELEMENTS AND POETRY ELEMENTS

A. Elements of the Story

1. Intrinsic Elements of the Story Intrinsic

The Elements of the Story, namely:

1. The theme is the main or main idea of a short story.

2. Character and characterization

   In characterization, the character and character of the character are written.

Characters are actors in a story. Characters are divided into main characters and
additional characters.

a. The main character is a character who interacts directly or is involved in the

conflict.
b. Additional characters are characters that are only expressed in short stories
without any interaction by characters or characters who are not involved in the
conflict. Characteristics are the characters or characters of the characters
contained in a story.

Example: The Bandung Bondowoso character in the story of Roro Jonggrang has
a persistent character.

3. The background is divided into place setting, time setting, and atmosphere setting.
o The setting of the place explains where the events or events in the short story
occur.
o Time setting describes when the events or events in the short story occur.
o The setting describes a picture of the atmosphere in a short story.

4. The plot or plot is a chronological sequence of events. The grooves are divided into
forward grooves, reverse grooves, and mixed grooves.

 The progression is a short story with events starting from beginning to end.
 The plot backwards is a short story with events that start from the end of the
story to the beginning of the story. Backward flow is also known as flashback.
 A mixed plot is a short story line which is a combination of forward and
backward grooves.
5. Perspective is the author's view of the story, the author may use a first-person or a
third-person perspective.
 The first person point of view is that the author is directly involved or the first
person in the story is characterized by the use of person pronouns I, I, and so on.
  The third person point of view is that the author is not directly involved in the
story, which is characterized by the use of personal pronouns like him, them, and
so on or by using the character's name. The third person point of view is divided
into the third person is focused and the third person is all-knowing.
6. Mandate is a moral message conveyed by the author to the reader through short
stories.
7. Language style serves to give a more attractive impression by using figure of
speech.
2. Extrinsic Element of Stories

Elements ofelements are elements that exist outside the short story, where extrinsic
elements indirectly affect the process of making a short story. For more details, here are
the extrinsic elements in the short story.

1. Background Community

Background is what underlies a writer to write a short story which concerns the
environmental conditions of the community. There are several factors that can
influence the author, among others:

 State ideology
 Political conditions
 Social conditions
 Economic conditions

  Now let's just look at the background of society in the short story "Koruptor Kita
Tercinta" by Agus Noor.

He became the most hated person. Good bad is faster than turning your palm. By
the most important magazine in our country, he was named Man of the Year as the
most honest official. It is because of his honesty that he is respected and loved. You
see, nowadays, finding honest officials is more difficult than finding a needle in a
haystack. Honest officials are like rare animals that must be protected.

Then the evidence of corruption was revealed. And the people who had been
adoring him so much stared. Over the years, in an ingenious manner, he had
arranged: so that whenever someone had to go to the toilet he made a profit.

2. Author's background

   The author's background is a factor that exists within the author so that it
encourages the writer to write short stories. There are several factors behind the
writer's background, among others:
  Author's curriculum vitae
 Psychological conditions
 The literary genre of the author

     Not only the community background, the author's background also influences
the short stories that are produced. Have you ever heard of the author AA Navis? Do
you know who he is?

Example:

    AA Navis is a prominent writer and humanist in Indonesia. His famous work is
the short story "Robohnya Surau Kami". AA Navis has the nickname 'The Mocker'.
He often 'scoffs' or criticizes the social conditions of society in his works. As a
Minang-blooded man, A. A Navis also provides a lot of background on the social
problems of the Minang community in his works, such as "Surau Kami", Bianglala
(1963), Kemarau (1967), Story of the People of West Sumatra (1994), and others.
much more.

3. The values contained in the short stories

The values contained in the short stories include

 Religious values
 Social value
 Moral values
 Cultural values

Finally, the values contained in the short story. For example, social values, moral
values, cultural values, and religious values. For more details, let's look at the short
story excerpt below!

Example:

    MY FATHER HAS THE BLOOD tana 'bulaan, the high nobility of Toraja. It has
become a tradition that the Rambu Solo ceremony, 'descendants of tana' bulaan, is
held on a large scale like a party. Tedong bonga, which costs hundreds of millions,
is the main requirement. The Toraja people believe that tedong bonga will be a
vehicle and provision for the puya. The more tedong bonga, the position of my
father's spirit in the puya will be even greater. Father's spirit can be appointed by
Deata to be To M Kembali Puang. He will equal the ancestors. Thus, Father's spirit
will protect and answer our prayers. (quoted from the short story "Rambu Solo")

      Without having to read this short story for a long time, we can easily see what
value the short story quote contains. Yes, cultural values are very thick in the short
story quote. This can be seen from the quote "It has become a tradition for the
Rambu Solo ceremony 'descendants of tana' bulaan to be held on a large scale like a
party. Tedong bonga, which costs hundreds of millions, is the main requirement.
 The Toraja people believe that tedong bonga will become a vehicle and provision for
the puya ”

B. Elements of Poetry

  Elements of Building Poetry

1. Intrinsic Elements

     The intrinsic element is an element contained in a literary work (poetry). The
intrinsic element is divided into two, namely, the mental element and the physical
element.

 Theme, is the basic premise for developing and composing poetry.

 Feel, which is the poet's attitude towards the subject matter contained in his poetry.
The expression of themes and feelings is closely related to the poet's social and
psychological background, for example educational background, religion, gender,
social class, position in society, age, sociological and psychological experiences, and
knowledge.
 Tone, namely the poet's attitude towards the reader. Tone also relates to theme and
taste. Poets can convey a theme in a patronizing, dictating tone, work with the reader
to solve problems, leave the problem with the reader, in an arrogant tone, consider
the reader stupid and despise, etc.
 Mandate / purpose / purpose, namely the message the author wants to convey to
readers or listeners.
 Language style, in a poem, you will find many series of words that are connotative,
exaggerated, or seem condescending. This is what is called a style of language in
poetry. Usually each writer tends to have his own language style, which is most
easily seen through figures of speech, such as personification, metaphor,
euphemism, and sometimes even some use irony. So, language style is a way of
using language in an essay or how an author expresses something that will be put
forward.
 Rhyme, which is the similarity in tone or sound. Rhymes can be found not only at
the end of each line or line, but can also be found between each word in the line.
 Typography, which is a form of writing poetry. In general, poetry is often found in
the form of lines, but there are also poems that are arranged in fragments even in
forms that resemble apples, zigzags, or other models.
 Imaji, poets also often create imagery or imagery in their poetry. The image can be
in the form of a word or a series of words that can clarify what the poet wants to
convey because it evokes a sense of the reader's imagination through sensing.
 Concrete word, there is a poet's desire to describe something more concrete or
tangible. Therefore, words were chosen that made everything seem touchable. For
poets, this is felt more clearly.
 2. Extrinsic Elements of Poetry

    The extrinsic elements of poetry are elements that exist outside of literary works
(poetry).

 Biographical element, this biographical element is the background of the author.

The background is quite influential in making poetry, for example a poet whose
background comes from a poor family, so if he writes poetry it will really touch the
hearts of the readers, who are carried away from the writer's background so that they
can be impressed in a poem.
 The Social Element, the social element is closely related to the condition of society
when the poem was written. Suppose that the poem was made when the New Order
was nearing its end. At that time the condition of the community was very chaotic
and the state of the government was very messy, so that the poetry that was made at
that time was poetry that contained allusions to society.
 Value elements, the value elements in this poem include elements related to
education, art, economics, politics, social, culture, customs, law, and others. The
value contained in poetry is the main attraction so that it greatly influences whether
the poetry is good or not.

Based on the material described above, we can conclude that story and poetry have quite
different elements. The elements of the story consist of intrinsic elements (themes, characters,
plot, language style, background, point of view, mandate) and extrinsic elements (community
background, writer's background, the values contained in the short story). While poetry
elements consist of intrinsic elements (theme, taste, tone, mandate, language style, rhyme,
typography, images, and concrete words) and extrinsic elements (biographical elements, social
elements, value elements).

 
CHAPTER VII
Children's Drama

A. Understanding Children's Drama

In general, the notion of children's drama is a text that is dialogue in nature and its
content stretches out a plot (Luxemburg, 1984: 158). It can also be said that drama is a literary
work that aims to describe life by expressing emotions through actions and dialogue, usually
designed for performances on the stage (Sudjiman, 1984: 20). Meanwhile, in particular, the
definition of children's drama is the process of the child's behavior as a character. In playing a
role, imitating or imitating someone's speech, using or utilizing experience and knowledge of
characters and situations in a behavior, both dialogue and monologue to present certain events
and series of stories, (Wood and Attfield, 1996: 144).

B. Characteristics of Children's Drama

Children's dramas are not much different from children's stories, both in terms of
language, themes, messages. What is different is the simple dialogue and the number of scenes
that are not too long and convoluted.

C. Benefits of Children's Drama

1. Engage in hobbies.
2. Grouping (Socializing).
3. Posture Formation.
4. Dramatic appreciation.
5. Development said.
6. Sharpens emotional sensitivity.
7. Improve understanding.

D. Elements of Drama
The elements that build children's drama are as follows :
a. Intrinsic Element
1. Character
Characters in children's dramas other than adults and children are also common
in the form of dolls, animals, plants and inanimate objects, their attitudes and
behaviors still depict human life. Characteristics of children's drama characters,
namely the first one who has obstetrical characteristics such as: age, gender, body
condition, and facial condition. Second, psychological characteristics, such as
mentality, morals, temperament, intelligence, and intelligence in certain fields. The
third is social characteristics, such as social status, occupation, education, ideology,
hobbies, and their role in society.
2. Plot
The plot in drama is also called storyline. The plot or structure of children's
drama generally contains five series of events, namely :
 Introduction is a series of events in children's drama that contains
information about characters and settings. In this case, the author introduces
the characters, explaining the events that will occur.
  Conflict is a stage in a series of events in children's drama that creates an
emotional atmosphere due to conflicts between humans and nature, humans
and fellow humans, humans and their creators, and humans and themselves.
 The climax is the stage of a series of events in children's drama that creates a
peak of tension.
 Anticlimax is the stage of a series of events in children's drama that shows
the development of the behavior towards completion.
 Settlement is the stage of a series of events in children's drama that ends in
happiness, peace, or sadness.
3. Background
The concept of background has been previously studied in the building blocks of
children's literature in prose. As we know, the well-known setting in children's
literature is the setting of place and time setting.
4. Themes
In general, the themes in children's drama texts are stated explicitly. Besides
that, the theme of children's drama is the main thought related to the issue of truth
and evil. For example, evil deeds will be defeated by good deeds.
b. Extrinsic Elements
The extrinsic elements contained in literary works in the form of children's
dramas include :
 The author's biography, in this case children's literature authors need to animate
children's personality styles.
 Psychology, the study of human behavior and animals, (P. Hariyanto, 1997-1998:
930), psychology is also a science that deals with mental processes, both normal and
abnormal mental processes.
 Sociology, a science that studies various social structures and social processes (P.
Hariyanto, 1997-1998: 932).

E. Drama Appreciation Learning

Moody (in Suminto A. Sayuti, 1985: 197) teaching literature equips students with four
skills, namely listening, speaking, reading, and writing. Drama appreciation learning
emphasizes speaking skills, but does not rule out listening (listening to drama performances),
reading (practicing dialogue / drama scripts), and writing (writing drama scripts / scenarios).
So, the four are related to each other.
Grove (in Aminudin, 1991: 34) provides an understanding that :

 Recognition through feelings or inner sensitivity.

 Understanding and acknowledging the beauty values expressed by the author.

Appreciation involves 3 core elements, namely :

1. Cognitive aspects.
2. Emotive aspects.
3. Evaluative aspects.
 Squire and Taba (in Aminuddin, 1991: 34) Cognitive aspects related to knowledge, the
involvement of the reader's intelligence in understanding the objective elements of literature.
The assessment of a literary work can be carried out if he has read or watched, in this case a
drama performance. The pros and cons of staging a drama depend on how the supporting
elements in the drama can act appropriately according to the character of each character.
Appreciation of drama can be done by understanding drama deeply, feeling the story
being broadcast, and being able to absorb and study the extrinsic and intrinsic values contained
in drama and appreciate drama as an art with its strengths and weaknesses from the script
created or from the play of drama performances.
Appreciation of drama is an activity to study the elements contained in a drama by
living it with all your heart and mind. As explained by Endraswara (2011), “drama appreciation
is an effort to understand drama from various sides. Appreciation means responding to the
drama. To respond, we must be able to enter, live the drama to the fullest.”
The purpose of drama appreciation should refer to four learning concepts, namely:
1. Learning drama is a coaching, increasing the ability to appreciate drama, not the process
of forming mastery of knowledge about drama.
2. Learning drama appreciation is carried out by providing the widest possible opportunity
for students to interact directly in creating situations that encourage students to benefit
from drama.
3. The teacher should stimulate the creation of a situation where students get their own
favors and benefits from drama.
4. Prevent students from mechanical processes, such as being trapped in dialogue
memorizing activities.

The most important thing is how students gain inner satisfaction in the stage of drama arts
and finally recognize, understand, appreciate, value, and appreciate drama as a literary
work. (Syafi'i, 1993).

F. Appreciation Level
Disick (in Herman J. Waluyo, 2002: 45) states that appreciation is related to attitudes
and values. He also mentioned four levels of appreciation, namely as follows :

 The rate of liking

A person who is just getting to the level of indulgence, his inner involvement is
not yet strong. He has recently been involved in activities related to dramas. If there is
drama he will be happy to read. If there is a drama reading, live or postponed on
television, he will make time to watch it.
 Enjoy level
The inner involvement of the reader with the drama deepens. Viewers will be
sad, moved, happy, and so on when they see the drama being able to critically enjoy the
beauty of the drama.
 Reaction rate
His critical attitude towards drama is more prominent because he has been able
to interpret and be able to judge the merits of a drama. The interpretation of drama is
 able to express the understanding of drama and show where that understanding lies.
Likewise, if someone in appreciation can state the shortcomings of a drama, that person
will be able to show where the shortage lies.
 Productive level
Drama appreciators are able to produce, criticize, and make written reviews of a
drama. In other words, there is a product produced by someone that is related to drama.

G. Types of Drama Appreciation

1. Direct appreciation
Dealing or interacting directly with literary works of drama either in the form of
written texts or in the form of performances.
2. Indirect drama appreciation
When studying drama theory, drama history, drama criticism. Both in school,
college and self-study through books and newspapers and literary magazines.
In terms of nature :

 Receptive, when reading a drama script, you have appreciated it because you are
familiar with it. Receive the inner experience of a drama script.
 Productive: producing creative work in the form of text and performances. At first the
drama was in the form of text. Finally, the performance developed. Making a drama text
means that you have appreciated it.

CHAPTER VIII
OLD POETRY AND NEW POETRY

2.1 Understanding Poetry

Poetry is a form of literary work that utilizes language as its medium. Poetry is
created by someone who is trained in senses, taste, thought, and imagination. The
several elements move together. However, not all of these elements have the same
 portion or share in describing a poem. At any given moment, the dominating senses in
giving birth so and so on.
On this basis, several poems were born with the following characteristics.

 Indurative (a description of the senses, sight, smell, hearing, etc.).

 Emotional sensitivity (feeling sensitive image).
 Intellectual sensitivity (thinking sensitivity).
 Imaginative (imaginative acuity or creativity).

2.2 Understanding Old Poetry and New Poetry

Old poetry or conventional poetry is a type of poetry that is still bound by
poetry, the arrangement of the array in each stanza, and the number of words in each
line, as well as the musicality of poetry. In this case, it includes the types of old poetry,
for example, pantun, syair, gurindam, thimble, talibun, and many others.
New poetry or modern poetry or unconventional poetry is a form of poetry that
is not bound by the rules that bind old poetry so that it tends to be freer. New poetry
evolved from old poetry that had been influenced from outside, the poetry was not
bound by the rules of rhyme, the number of lines, or the number of words. Even so, both
old and new poetry still contain rhythm, rhyme, and musicality.

2.3 Characteristics of Old Poetry and New Poetry

The characteristics or characteristics of old poetry are as follows.
 Bound to certain rules or patterns.
 Generally, it is folk poetry.
 Usually, the author's name is unknown.
 Generally, it is oral literature.
 Delivered by word of mouth.
Meanwhile, the characteristics or characteristics of the new poetry are as follows.
 Not bound by various rhyme rules and other old poetry rules.
 The author is known.
 Oral and written developments.
 Use of figure of speech that is dynamic/capricious.
 Usually tells about life.
 More use of rhymes and poetry.
 Neat and parallel shape.
 The usual regular ending rhyme.
 Each line is a syntactic unit.
 They are neat and usually symmetrical.
 Have regular taxation at the end.
 Most of them use rhyme and rhyme patterns.
 Most of the four-strand poetry.
 Each line on a gatra or with other terms as a syntactic unit.
 Each gatr is two words with 4-5 syllables.
2.4 Types of Old Poetry and New Poetry
A. Types of Old Poetry
1. Poem
Pantun is an old form of poetry that has the rhyme a-b-a-b. With the use of these
rhymes, of course, rhymes are very easy to recognize. In the past, rhymes were a
form of communication between people either through replying to rhymes or
through songs. Consider the following rhyme examples.
From the example of the pantun above, the rhyme has the following
characteristics.
 Cross-rhyming (a-b-a-b)
 Consists of four lines in one verse
 Each line has eight to twelve syllables
 The first and second lines are sampiran
 Poetry is an outpouring of feelings or thoughts
 The third and fourth contents are contents
Based on its contents, rhymes can be divided into several types, namely
humorous rhymes, riddle rhymes, advice rhymes, traditional rhymes, religious
rhymes, trade poems, and teenage rhymes. The following are examples of each of
these types of poetry.
2. Mantra
Mantra is an old poem that is generally used in traditional or religious
ceremonies. Mantra usually contains magical value or power so that it can cause a
certain effect or impression when read or pronounced. Some of the characteristics of
mantras include the following.
 Are powerful
 Rhymes abc-abc, abcd-abcd, abcde-abcde
 Use a special language that is esoferic
 Tends to be freer in terms of syllables, lines, or rhymes
 Usually used in religious ceremonies
3. Poetry
Syair is an old form of poetry that consists of four lines of content and has the
rhyme aaaa. Poetry comes from Arabic and generally contains inspirational stories
or advice. The characteristics of the poetry are as follows.
 It consists of four lines
 Rhymes aaaa
 All lines are content
 Generally contains advice
4. Gurindam
Gurindam is an old poetic form consisting of two lines per stanza and rhymes aa.
Just like poetry, gurindam also contains advice or advice. The characteristics of
gourindam among lan are as follows.
 It consists of two lines
 Rhymes aa
 Usually contains advice or advice
 The first line is an issue or problem
 The second line contains the answer or result
5. Seloka
Seloka is an example of old poetry which originated in Malay. Seloka is also
called related pantun because this rhyme consists of several continuous verses. The
relationship is as follows: The second and fourth lines of the first stanza are used
again in the first and third lines of the second stanza. So too is the relationship
between the second and third, third and fourth stanzas, and so on.
Seloka is used to insinuate, joke, or mocking expressed in a parable.
6. Karmina
Karmina is also called pantun kilat. This type of old poetry has very short
content and is used for satirical purposes. The karmina rhymes have a straight or aa
pattern.
7. Talibun
Talibun is a poem which is composed of six, eight or ten lines. The division of
the verse is the same as the regular rhyme, which consists of sampiran and contents.
If the talibun consists of six lines, the first three lines are sampiran and the next three
lines are contents.
8. Thimble
Bidal is a type of proverb that has a straightforward meaning, has rhyme and
rhythm, so it is often classified into a poetic form. In Malay literature, thimble
contains figurative, satire, or a certain meaning. Thimble is one of the oldest types of
literature. Theoretically, the meaning of thimble is often equated with a saying or
saying. In everyday life, thimbles have the following functions.
 As a medium of communication
 As a medium of teaching and education
 As a medium for criticism. „
 As a medium to control society. „
 As a medium to show wisdom. „
 As a medium to view and measure someone's status

B. New Types of Poetry Based on Its Content

Based on its content, new poetry is divided into several kinds, namely epigram,
order, hymn, ballad, elegy, satire, and romance. The following is an explanation of
the types of new poetry based on their content and examples.
1. Ballads
Ballads are an example of a new poem that tells a specific story. Ballads
are characterized by consisting of 3 stanzas in one poem, each verse consisting
of 8 lines, having a rhyme pattern of ababbccb which then changes to ababbcbc.
2. Hymn
 Hyme is a form of poetry in the form of praise given to gods, God,
homeland, heroes, and alma mater. Usually, the hymn is sung to the appropriate
rhythm.
3. Order
Order is like a hymn because it contains praise or flattery. This poem
uses the official language but still adheres to it.
4. Epigram
Epigram is a type of poetry that contains the demands of life.
5. Romance
The word romance comes from the French word Romantique which
means beautiful in feeling. As the name implies, this type of poetry expresses
affection and a sense of beauty as symbols of beauty.
6. Allergies
Unlike romance, allergy is a type of poetry that contains sadness. This
type of poetry is a form of expression of longing, sadness, sorrow, or the
departure of someone we never wanted.
7. Satire
Satire is a type of poetry that contains special satire addressed to certain
people who have a high position or position.

C. New Types of Poetry Based on Their Form

Based on its form, new poetry is divided into several types, namely distikon,
terzina, quatrains (quartets), quints (quin), sextet, septime, octave (stanza), and
sonnet. Below are explanations and examples of each of the new types of poetry.
1. Distikon
Distikon is a poem where each stanza consists of 2 lines or in other terms
it is called a 2-piece poem.
2. Adultery
Terzina is almost similar to distikon, which is a poem where each stanza
consists of 3 lines or in other terms 3 strands of poetry.
3. Quatrains
Quaternary is also almost the same as distikon and terzina, namely the
stanza consists of 4 lines or is called a 4-string poem.
4. Quints
Quint is a new type of poetry consisting of 5 lines or also known as the
poetry of 5 strands.
5. Sextet
The sextet is a new poem consisting of 6 lines or six strands of poetry.
6. Septime
Septime is a poem consisting of 7 lines or seven strands of poetry.
7. Octave or Stanza
An octave is a poem, each of which consists of 8 lines or 8 strands of
poetry.
8. Sonnet
 Sonnet is a new type of poetry consisting of 14 lines, divided into two
parts, namely the first part consisting of 2 stanzas, each of which consists of 4
lines. Then the second part consists of 2 stanzas, each of which consists of 3
lines.
CHAPTER IX
Learning Strategies In Writing Poetry

2.1 Defenition od Writing Poetry

Writing is a language skill that is used to communicate indirectly, not face to face with
other people. Writing is a productive and expressive activity. In writing activities, a writer
must take advantage of graphology, language structure, and vocabulary. These writing
skills will not come automatically, but must go through a lot of practice and regular
practice (Tarigan 1986: 3).
According to Mulyati (2000: 223) writing essentially conveys ideas or ideas and
messages using graphic or written symbols. Likewise, the skill of writing poetry in essence
also aims to convey the ideas and messages of the poet which is supported by the accuracy
of expressing ideas and the accuracy of literary language, and should be supported by the
context and use of figure of speech.
Poetry writing skills are expression skills that emphasize the emphasis on personal
self-expression, including emphasizing the expression of emotions, ideas, or ideas. It
should be noted that writing literary works (poetry) should prioritize the litentia poetica
principle, namely the poet's freedom to use language. Language in poetry does not have to
follow the prevailing linguistic rules, but writers are given the opportunity to violate or
deviate when they write poetry (Depdiknas in Fauziyah, 2006: 17).
Thus it can be concluded that writing poetry is an activity of generating thoughts and
feelings in an appreciative, expressive, suggestive, and fictional manner as something
meaningful with a process of producing something new through poetry.

2.2 The Purpose of Writing Poetry

According to Jabrohim (2003: 71) goals are achieved through the development of
creative writing, which is appreciative and expressive in nature. Appreciative means that
through creative writing activities people can know, love, enjoy, and perhaps critically
recreate things that are found in the creative texts of other people's work in their own way.
Expressive in the sense that it is possible for us to express or express various experiences or
things that are symptomatic in us to be communicated to others.

2.3 The Process of Writing Poetry

Endraswara (2002: 220-223) suggests that the process of creating poetry consists of three
stages, namely
1. The sensing stage is the initial stage in poetry creation. Poets before creating a poem
must first sense the natural surroundings. This is done to find anomalies that occur in the
nature around the poet. It is these oddities that the poet will use as a source of inspiration
in his poetry. Sensing is the most decisive stage in learning to write poetry. At this stage,
a person is required to find ideas in writing poetry. After the idea is found, the learning
process will run smoothly.
2. After the poet finds the oddities happening around him, the next stage is contemplation
or deposition. This contemplation will deepen if accompanied by a sharp intuition.
 Intuition will be able to grow the power of imagination which in the end brings out the
impossible becomes possible.
3. The final stage of the poetry creation process is the stage of playing the words. The first
thing that needs to be done is to collect the words related to the theme to be selected,
then it is necessary to complete the meaning of words that have a higher sense of value.
The word which has a higher taste value is used in writing poetry.

2.4 Poetry Writing Learning Strategies

In learning to write poetry, the teacher uses several strategies to achieve the expected
learning objectives. This is in accordance with Kemp's opinion (in Sanjaya, 2009: 125) that
the learning strategy is a learning activity that teachers and students must do in order to
achieve the expected goals. The strategies used by the teacher are:
1. Individualized Approach Strategy
One activity that shows an individual approach is that in the classroom there are groups
of students. They took their seats. They study in different styles. Their behavior also
varies. The diversity of students is able to provide knowledge on how to give equal
attention to students. This is in accordance with the opinion (Djamarah and Zain, 2002:
63) that the individual differences of these students provide insight to the teacher that
teaching strategies must pay attention to the differences of students in this individual
aspect. The individual approach has a very important meaning for the sake of teaching.
Classroom management desperately needs this individual approach. The individual
approach is a direct approach taken by the teacher to his students to solve their students'
cases.
2. Learning Strategies discovery(discoverylearning)
At the time of indirectly teaching teachers require students to find things that
could be used as material in the writing of poetry. The activities of students finding
themselves are included in the technique of discovery (discover learning). In line with
Roestiyah's opinion (2001: 20) which states that discovery techniques are mental
processes when students are able to assimilate a concept or principle. In this technique
students are left to discover on their own or experience the mental process itself, the
teacher only guides and provides instructions. Based on this statement, Rowntree (in
Wina, 2006: 128) states that this discovery strategy shows that learning materials are
sought and found by students themselves through various activities, so that the teacher's
task is more as a facilitator and guide for students. Because of its nature, this strategy is
also often referred to as an indirect learning strategy.
The teacher provides the opportunity for students to observe things that are close
to their environment so that in the arrangement of words in the poetry it does not deviate
too much from the topic being discussed then students summarize the ideas that have
been found so that these ideas are able to provide ideas for writing poetry. Students
make conclusions on general principles based on their understanding of the institution
(Oemar, 2011: 131).
Introducing a problem or topic that will be discussed in person in class is one
strategy. By introducing the topic, which is about writing creative poetry with regard to
natural beauty, then the teacher provides the opportunity for students to collect
 information regarding the topic discussed through the understanding that each student
has.
3. Integrated Learning Strategies (unit learning)
Orient students to problems / topics to be studied in class, directly or through
relevant learning media (Oemar, 2011: 134). This is one of the strategies applied by the
teacher when teaching. In the learning process of writing poetry, the teacher provides
lessons departing from topics that have been obtained by students and then these topics
are resolved by students with teacher guidance so that the learning atmosphere in the
classroom is well integrated. This is in line with Oemar's (2011: 133) opinion which
states that integrated learning is a learning system that starts from a problem or project,
which is studied / solved by students both individually and in groups with various
methods and with teacher guidance to develop the student's personality as a whole and
integrated.
4. Varied Approach Strategies
Students 'individual differences provide insight to the teacher that learning
strategies must pay attention to students' differences in this individual aspect. In other
words, the teacher must make a strategy or approach in teaching and learning. In
providing poetry writing material, the teacher does not only use one method, the teacher
also collaborates from one approach to another while teaching, so that it can be said to
be a varied approach. The varied approaches depart from the concept that the problems
faced by each student in learning vary. Cases that usually appear in teaching have
various motives, so that a variety of solving techniques is needed for each case. So,
presumably this varied approach is a tool that teachers can use for teaching purposes
(Djamarah and Zain, 2002: 63).
CHAPTER X

RHYMES AND POETRY

A. Understanding Rhyme
a. Understanding Rhyme
Rhyme is a work that can / can entertain and can also reprimand. Rhyme is an expression
of feel / feeling as well as thoughts, because the expression is arranged with words in such a
way that these words can be very interesting to hear and read. Rhyme shows that Indonesia
has its own characteristics in educating and also conveying things that are certainly useful.

b. Characteristics of Rhyme
The main characteristics of the rhymes are as follows:
 Pantun has a verse, Each verse of the pantun is arranged by two lines. One
stanza consists of 4 lines.
 Each line consists of 8-12 syllables.
 Each line consists of 4-6 words
 Each verse consists of sampiran and alsoisi. The first & second lines are a sampiran,
the third and fourth lines are a content. (Although indirectly sampiran is not related
to the content, it would be better if the words on sampiran are also a reflection of the
content to be said or conveyed).
 Pantun rhymes abab / can also be aaaa- (which cannot use aabb or other rhymes).

According to Abdul Rani (2006: 23) says that the characteristics of the pantun are as
follows:
 Consists of four lines
 Each line consists of 9 to 10 words
 The first two lines are said to be sampiran while the next two lines contain what the
chanter means which in that section it is said with the contents of the rhyme.

c. Rhyme terms
The terms of the pantun are as follows:
 One verse of the pantun consists of 4 lines
 Lines -1 and 2 are sampiran and lines 3 and 4 are the contents of the pantun
 One line of rhymes consists of 8 to 12 syllables
 Rhymes abab or aaaa

d. Kinds of Rhyme
The kinds of rhymes can be categorized into 2 types, among others, are as follows:
1. Based on the Life Cycle (Age)
 Pantun Anak is a poem that has a connection with childhood where the rhyme
describes the meaning of joy or sorrow.
 Pantun Orang Muda is a poem about a youthful life which contains or means an
introduction, a relationship of love or romance and household, feelings (affection,
compassion, envy, etc.), as well as fate.
 Parents' Pantun is a poem about parents and also about culture, religion, advice and
so on.

2. Based on the contents

 Pantun Jenaka is a poem that contains funny and interesting things
 Pantun Advice is a poem which contains advice with the aim of educating, as well as
providing moral advice, character, etc.
 Pantun Teka-Teki is a poem that contains a puzzle.
 Figurative Pantun is a poem which contains an allusion that can be used to convey
all kinds of things implicitly.

e. Linguistic Rules of the Rhyme Text

The linguistic rules used in a pantun text are very different from anecdotal texts,
following their linguistic characteristics:
1. Diction
choice of words that are appropriate and suitable in their use in an effort to convey an
idea so that a certain impact is obtained as expected.
2. Figurative language
the language used by the chanter to be able to show meaning indirectly. Generally in
the form of a proverb / expression.
3. Image
depiction created by the chanter in an indirect way. So that it is as if it is depicted in a
poetry text that can be seen (visual images), heard (auditive images), or also felt
(tactile images).
4. Sound
generally arises from figures of speech, images, and also diction which are created
when telling rhymes. The bias contains rhyme (rhyme) and rhythm (rhythm)
elements. In an effort to beautify the rhymes and to be able to remember them more
easily.

B. Understanding Verse

a. Definition of verse
Verse is a form of old Indonesian literary work originating from Persian or Arabic.
Poetry has its own characteristics. There are several characteristics of verse that are easily
 recognized. According to the online Big Indonesian Dictionary (KBBI), syair is defined
as an old poem, each of which consists of four lines and has the same ending sound. As
for the term, the word or term 'syair' comes from Arabic, namely Syi'ir or Syu'ur which
means 'feeling that is aware'.Poetryin Malay literature refers to the meaning of poetry in
general. However, in its development, this verse has undergone changes and
modifications so that the lyrics are designed according to the circumstances and
situations that occur. Poetry is well-known as a medium for expressing the heart's content
about an event, incident, person, or feeling.

b. Verse elements
1. Intrinsic Elements of Poetry
 Themes are the main ideas that poets want to convey through their lyrics to
readers. The themes used by the poet vary. Examples include humanity, religion,
nature, beauty, education, character, and so on.
 Feeling, is something that the poet wants to convey / express in the form of his
characteristics, point of view, character, and so on.
 Tone, an intonation or emphasis in the content of a poem which can be in the form
of mocking, advising, joking, being happy, criticizing, being merciful and so on.
 Mandate, is a message or advice that the poet wants to convey to each reader.
Generally, the message in the poetry is interpreted by the reader according to the
reader's understanding.

2. Extrinsic Elements of Verse

 The background of the poet's life.
 Poet education.
 Cultural and social background.
 The customs or habits of the local community.

c. Characteristics of verse
1. Consists of 4 lines

The first verse is characterized by four lines. A verse can consist of several verses.
However, in each stanza, the verse must consist of four lines.
An example is the poem by St. Alisjahbana's destiny:

Stop the story of the king of Hindustan(row 1)

There is also a word(line 2)

Abdul Hamid Syah, the Sultan(line 3)

Sit down, king, reveling(line 4)

The verse fragment above shows the number of lines in the verse, which is four lines
Each line consists of four to six words

Further characteristics of the verse are six to six words in each line. Here's an
example:
Paksi / Simbangan / supposedly / name (4 words)
Beautiful / and / cute / as well / her behavior (5 words)
His eyes / diamonds / radiance / light (4 words)
Beak / gemala / not / peerless (4 words)

2. Each line consists of eight-12 syllables

Each line of poetry has eight to 12 syllables. A syllable is the combination of one or
more consonants and one vowel. For example, the word dictionary consists of two
syllables: ka and mus. Here's an example:
Ter / bang / it / Sim / bang / an / pe / ri / -pe / ri / (11 syllables)
Lin / bag / di / Kam / pung / Ba / yan / Jo / ha / ri / (10 syllables)
Ter / li / hat / lah to / pa / da / pu / tri /nya / Nu / ri / (12 syllables)
Mu / ka /nya / ce / mer / lang / ma / nis / ber / se / ri / (11 syllables)

3. All lines are content

Unlike the pantun, which has sampiran at the beginning of its two lines, syair only
consists of the contents in its four lines. These poetic characteristics distinguish it from
other old rhymes and poems.
Each line in verse usually conveys a story or message. Here's an example:

Beginning our story begins

The antiquity of the maritime

era Origin of a country
The emergence of the king's kingdom in the
temple The kingdom was called Negara Dipa
The first king of Empu Jatmika

The only son of Mangkubumi and Sitira

Origin of Keling Country in the Land of
Java Mangkubumi a rich merchant
A wise relative of the
king Turns out a pretty
girl
Empu Jatmika is said to be his name
 4. Have a final rhyme aaaa

Another characteristic of poetry is that it has a rhyme or ending aaaa on each line.
This is different from the characteristics of the rhymes that have abab rhymes. Example:

Paksi Simbangan is said to be the name

Beautiful and sweet as well as his
behavior His eyes were diamond shining
light
The beak is unmatched

5. Contains a story or message

Syair usually contains a story or story that contains elements of myth, history, religion
/ philosophy, or mere fiction. Poetry can also contain wise advice or advice.

d. Types of
se Ver
 Panji Poetry
 Panji poetry is the poetry of solace. These poems usually have the theme of stories
of wandering and war. In the poetry of the banner, there are elements of a love
story.
 Romantic Verses
Romantic poetry contains about romance which is usually found in consolation
tales and folk tales.
 Figurative Verses
Figurative poetry conveys a message in a figurative form. These verses are also
called animal and flower poems. Its content is an allusion or allusion to an event.
 Historical Verses
Historical poetry is poetry based on historical events. Most of the historical poetry
is about warfare.
 Religious Verses
Religious poetry is the most important poetry. Religious poetry is divided into
four, namely Sufi poetry, poetry about Islamic teachings, poetry from the
prophet's narrative, and poetry of advice.

e. Examples of Verses

The poem of the Parrot by Sultan Badaroedin

Paksi Simbangan is said to be the name

Beautiful and sweet as well as his
behavior His eyes were diamond shining
light
The beak is unmatched

The Flying of the Balance is fairy-

tale Lintas in Bayan Johari Village
Look at his daughter Nuri
Her face was bright, sweet, radiant

The balance glanced up

geta Same as meeting
eyes Flaming spirits melt
love
Tired and lethargic feeling of the members

C. Difference between rhyme and verse

 Here are 4 differences between rhyme and verse, which are as follows:

1. The poetry in the first and second stanzas is sampiran, the third and fourth stanzas
are content. While in verse the entire stanza is the content of the poet.
2. Pantun has sampiran and contents, while poetry does not have sampiran and content.
3. Pantun rhymes abab or aaaa, while rhymes only rhymes aaaa.
4. In pantun the language used is the domestic language, while in verse the language
used must be the same.

D. Similarities of rhyme and verses

Here are 4 equations of rhyme and rhyme, which are as follows:

1. Rhymes and verses usually consist of four stanzas

2. Rhymes and verse are classified as rhyme rhythms
3. Each rhyme and verse consists of 8 to 12 syllables
4. Rhyme and verse are part of old poetry

46
CHAPTER XI
CHILDREN'S STORY WRITING LEARNING STRATEGIES

Children Story Writing Learning Strategy

The learning model is a plan or a pattern that is used as a guide in planning classroom
learning or learning in tutorials. The learning model is actually a tool that is used when we
help students to obtain information, ideas, skills, values, ways of thinking, and goals, it can
be concluded that we are actually teaching children to learn.
According to Arends, the learning model refers to the learning approach that will be
used, including teaching objectives, stages in learning activities, learning environment, and
class management.
Everyone has the enthusiasm to know some information, including children.
Information in the form of knowledge and knowledge can be obtained through various
means, both formal and informal education, and can be pursued through active, recreational,
and reflective education. Such teaching patterns can be found in literature. Therefore,
literature does not only provide something that is entertaining, but also provides benefits
(Teeuw, 2003: 55). To borrow Horace's words, literature serves two functions, namely dulce
et utile, or useful and fun.
The function of Dulce et utile is no exception in children's stories. For example, the
2004 tsunami tragedy in Aceh left a sadness, as well as a very expensive and valuable lesson.
Most of the people of Simeuleu are saved by the story of their ancestral heritage, which is
essentially a message to immediately save themselves to the hills when the earth shakes
violently. So, when a big earthquake occurs, they immediately run to a higher place (hills).
As a result, there were not many casualties in Simeuleu.
From this incident, we can take the essence that stories are not just tools to entertain.
However, stories can be used as a medium to educate and disseminate insights or knowledge.
Stories are one of the teaching methods that are fun and more engaging than scholastic
methods which emphasize the intellectual aspect (IQ).
Literature is a thing that exists and the writer is the one who creates it. Anyone can be a
children's story writer. Our ancestors were excellent storytellers. Evidently, almost every
region has a diverse folklore. We ourselves, therefore, can also become writers.
Creative writing, including literature, is not just a matter of talent or not talent. Writing
is more of an activity that requires hard work, discipline, creativity, imagination, does not
give up easily, understands language, has insight, and masters linguistic aspects. Indeed, there
are many requirements, to become a (reliable) writer. However, basically writing is not a
difficult thing. Writing is essentially a process that can be learned.
Writing Stories: A Process Problem
As a process, writing is done through several stages. These stages include:

47
 5. pre-writing stage;
6. draft writing stage;
7. revision stage;
8. the editing stage, and
9. publication.

The pre-writing stage is carried out by a writer when he wants to make a story. At this
stage, the writer needs to determine the topic he will write about. For example, whether to
make a story that emphasizes aspects of moral education, or humanitarian education, such as:
loving and helping others, fostering a spirit of social solidarity, fostering tolerance towards
religion, ethnicity, etc.
Departing from a pre -determined topic, then a writer needs to prepare a number of
materials that he will use to create a story. The ‘materials that need to be processed’ come
from a number of ideas or ideas that will be poured into a work.
Ideas can take any form, and can be explored in several ways. Reading is an effective
way to gain ideas. The richer our reading, of course the richer our ideas. Therefore, a writer is
required to enrich his reading so that the idea of the story is more, and not monotonous.
In addition to reading, the results of experience and observation can also be used as
material for writing. The events that take place around us, of course, are interesting to be
raised into a story. Experiences as parents and teachers, observations interacting with
learners, and various phenomena that can be reached by our senses will certainly be a source
of writing that will not dry up.
Once the topic is determined, then what is no less important is to determine who our
'potential readers' are. This is important, because by knowing who the potential reader (or
listener of the story) is, we can determine the ‘how’ way for our story to reach them.
Elementary school age children are included in the stages that have several
characteristics (Mitchelle, 2003: 11). Some of these characteristics, among others, is the
attitude of self-orientation or seeing things only in perspective. Children in this category are
beginning to be able to understand what is going on in their world, increase their
understanding of themselves, then the people around them, and begin to build their
reasoning-thinking competencies. The ability to master language in children at this stage is
quite rapid, and will slowly begin to shed its egocentricity. At this stage, children begin to
gather skills, understanding, and various strategies that will affect the next stage (concrete
operational stage and formal operational stage).
Based on the characteristics of the child at this stage, then the books that are worth
giving to them are books or stories that are easily identifiable (affordable) by the child. For
example, stories that describe family relationships, friendships, and certain communities
using natural and authentic language (honest, straightforward). In addition, it is good if the
stories presented to them are stories that allow the listener or reader to make a number of
predictions and elicit multiple responses, such as drama, pictures, conversation, and writing.

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 There are several drafts that can be interpreted, among others:
1. The draft writing stage

The draft writing stage is done by writing a rough description of the story to
be written. The content aspect (story content) is emphasized more at this stage, not
on the mechanical element. The content aspects include: who are the characters who
play in the story, what problems will be raised, how the plot is going - forward or
backward (usually, for children's stories, the plot chosen is the type of plot forward),
the setting (background) of the story. where happens, determining the ending of the
story, what is the theme, and so on.
2. Revision stage

The revision stage is carried out by sharing the results of the development of
the finished draft with colleagues. The results of the writing need to be discussed,
for example, to find out whether the story has been built with the consistency of the
plot and characterizations (names, characters), as well as knowing the response to
the stories we make. The response is needed to determine the feasibility of the
story. Inputs or responses to the story can be used to make possible changes, as long
as they are needed and do not deviate from the plan or purpose of writing the story.
3. Editing or editing stage

It is a process needed to see whether the composition, writing technique,

language and sentences we are using are correct or not. Things that are mechanical
in nature need to be considered, because making a story still requires linguistic
insight.
4. Publication stage

The publication stage is the last stage in the writing process. This publication
needs to be done to see the form of appreciation that emerges for the work that we
have created. Publication requires confidence. It may be that the works we send to
the mass media are not published immediately. Even well-known writers have
passed through a stage like this. It could be that our unpublished writing is due to
several shortcomings. If our writing is to be sent to the mass media, then we need
some knowledge of the mass media.
One of the learning models to write children's stories is the copy the master
learning model
The copy the master model is one way to practice writing creative literature,
including children's stories or short stories. This method is the same as making imitation of
expert writings, imitating or completely imitating it is one of the fundamental rhetorical
teaching methods in ancient Rome. When someone transcribes from the masters the writer is
taught to describe and discover the means of speaking and writing.

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 The copy the master model requires doing exercises in accordance with the given
master. Exercises for this method do not have to be written from famous people but can be
taken from a memorable personal experience and told as material to make a short story. In
teaching writing and writing steps to students, it is not like teaching writing theory, but
providing examples of writing that can be taken from books, the internet, magazines,
newspapers, a collection of short stories, poetry, or the teacher's own writings, even the
results of the students' writing. considered the best. Thus students can more easily grasp what
is meant, and it is even hoped that students can immediately write by imitating existing
examples.
The written examples given are read out first or the students take turns reading the
existing short stories. Then students are invited to discuss by giving opinions about the
contents of the writing. The next step, students are given the assignment to work on the
questions according to the examples that have been read out, then the students make the same
writing, copying the ideas, not the copied writing.
As a quote by J. Douglas Perry:
“I can't teach you to write. All I can do is give you a few examples and encourage you
to write, write and write… Writing is a skill and a skill is developed with practice. "
The short story writing practice steps use the copy the master model
The steps to practice writing short stories carried out on the copy the master model
based on students' personal experiences are as follows:

 One student tells his personal experience in front of his group of friends, the other
friend listens and listens carefully;
 The teacher creates an atmosphere for each group so that students are fully
concentrated on the child who is telling the story;
 Listen and study carefully the stories that the students read in each group then discuss
them together;
 Determine the intrinsic and extrinsic factors of the story that the student tells the
story;
 Based on the results of the story analysis, determine the changes that will be imitated /
imitated, for example, the same structure has different contents, different structures
but the same contents, different structures and contents.

The steps for implementing the copy the master model in learning to write short
stories are adapted from the opinion of Suryaman, (2012) and Budiarti (2011), namely:
E. Students read and enjoy a short story. The short story that is the model should be the
work of a professional writer, and preferably a published work, so that its quality is
guaranteed. Thus, students will have a model that will become the parameters of the
writing that will be made.
F. Strive to create situations that make students engrossed in reading.

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G. Discuss the short story as a group.
H. Analyze or identify and compile a framework based on the short story building elements
(theme, mandate, plot, character and characterization, setting, point of view, language,
and language style), as well as the short story extrinsic elements (the socio-cultural
background of the writer).
I. Based on the results of the analysis, students should determine the imitation changes.
The short stories (copy master), are made different in certain parts, for example:
J. Replacing story characters with everyday characters found in students' lives.
K. Replace problems according to what students or other people experience.
L. Different grooves, different settings.

The copy the master model can be briefly described as a model that requires doing
exercises in accordance with the master or the examples given. The copy the master learning
activity is learning to imitate someone's short story writing or directly from sources either
from peer students or from teachers.This model does not require or require to be sourced
from the writings of a famous short story writer
1. Learning to write short stories using the copy the master model is expected to provide
several advantages, namely:
2. Increase students' interest in reading literature, especially short stories,
3. Improve students' abilities in short story writing skills,
4. Can be used as an alternative for teachers to learn to write short stories.

The learning model is a plan or a pattern that is used as a guide in planning classroom
learning or learning in tutorials. The learning model is actually a tool that is used when we
help students to obtain information, ideas, skills, values, ways of thinking, and goals, it can
be concluded that we are actually teaching children to learn. Creative writing, including
literature, is not just a matter of talent or not talent. Writing is more of an activity that
requires hard work, discipline, creativity, imagination, does not give up easily, understands
language, has insight, and masters linguistic aspects. Indeed, there are many requirements, to
become a (reliable) writer. However, basically writing is not a difficult thing. Writing is
essentially a process that can be learned.
By understanding and studying children's story writing strategies, it should be able to
help develop students' creativity in writing creative works in the world of literature.

CHAPTER XII
Writing Children's Stories with Various Strategies

A. How to Write a Children's Story

Writing a child's story requires a strong imagination and the ability to see things from
a children's point of view. To write it, start by brainstorming topics that feel attractive to
children. After that, write a story with a stunning opening section, use a strong plot, and

51
include the morals of the story. And be sure to perfect the story once you're done writing the
draft so that it can appeal to young readers.
5. Starting Process
a) Get to know the age group your readers are targeting. Children's stories are
often written for a specific age group. The use of language, tone/atmosphere,
and story style will change based on the age group you're targeting.
For example, if you are writing a story for a group of children aged 2-4 or 4-7
years, you need to use simpler language and very short sentences. If you're
writing stories for a group of 8-10 year olds, use slightly more complex
language and sentences longer than four or five words.
b) Use childhood memories as story inspiration. Think about exciting, strange, or
amazing childhood memories. Use these memories as the basis for the child's
story that you want to write.
For example, you may need to have a strange day while sitting in the 3rd grade
of elementary school. You can turn the experience into an entertaining story.
You may also have visited abroad as a child and get experience/stories from
those visits that children will love.
c) Choose one ordinary object and make it a fantastic thing. Choose daily
activities or events and add unique elements to them. Make one object a
fantastic thing by incorporating strange or magical elements into it. Use your
imagination to try to see it from a children's point of view.
For example, you can choose things like a visit to the dentist and make it
fantastic by turning on the machines used in the practice room. You can also
take advantage of the first experience of visiting the sea as a story idea and
make it fantastic by showing children exploring the deep ocean.
d) Choose a theme or story idea. The main theme of the story helps you get ideas.
Focus on themes like love, loss, identity, or friendship from a children's point
of view.
For example, you can explore the theme of friendship by focusing on the
relationship between a girl and her pet turtle.
e) Create a unique main character. Create unique characters using interesting
child or adult traits that you can find in the real world.
For example, you may notice that there are not many children's stories
featuring dark-skinned girls (or from other ethnicities other than the majority
ethnicity/race) as the main characters of the story. You can create the main
character that fills the void.
f) Give one or two prominent traits/habits to the main character. Make the main
character stand out to the reader by providing a unique physical character,
such as a specific hairstyle, type of clothing, or walking style. You can also
give your main character a special personality, such as being kind-hearted,
liking challenges, and tending to get into trouble. For example, you can create
a main character who always braids his hair and is obsessed with turtles.

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 Alternatively, you can also create a main character who has a clear scar on his
hand from falling from a tree.
g) Make a beginning or a story opening.
h) Show incidents that trigger emotions / problems (the onset of conflict). This
incident is an event or decision that changes or challenges the main character.
i) Show the stage of rising conflict (rising action). Show his life in the middle of
the incident. Explain how to deal with or adjust to the incident that occurred.
j) Show a dramatic peak of conflict or climax.
k) Include stages of conflict reduction.
l) End the story with a resolution. Resolution serves to tell the reader whether the
main character succeeded or failed to achieve his goal.
m) Read examples of children's stories. Get a clearer picture of this genre by
reading examples of successful / famous children's stories.
6. Writing a Draft Story
3. Make the opening / introduction interesting. Use a unique description of the main
character as an opening. The opening should set the tone for the story and allow
the reader to guess the story.
4. Use language that is related to the senses and show a lot of detail. Bring the main
character to life by focusing on what he sees, smells, touches, feels, and hears.
Also use language that reflects these sensory experiences to keep readers
interested in your story.
5. Add rhymes to the story.
6. Use reps or repetitions. Highlight the language in the story by repeating key words
or phrases throughout the story. Repetition helps readers to stay interested and
remember the story that was written.
7. Include alliteration, metaphor, and simile. Alliterative language refers to the use of
the same consonant in every word, such as the phrase "Kumba the Kumal Cat" or
"The clinking of the Goddess's string." Metaphor refers to a comparison of two
things. Simile refers to a comparison of two things using the conjunction "like" or
"like".
8. Have the main character face a certain conflict. The main character in the story
may have to deal with issues of acceptance by others, family problems, or
problems with physical development.

3. Refining the Story

a. Read the story aloud. When you're done writing a draft, read it aloud to yourself.
b. Show the stories written to the children. Get feedback from the target audience's
age group.
c. Revision of the length and clarity of the story. Read over the draft carefully and
make sure the story is not too long. Usually, the most effective children's stories
are short and straightforward. Most children's stories consist of very short texts.
Although short, the text in the story is used as best as possible to tell the story.

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 d. Try publishing the story you wrote. If you like a written story, you can send it to a
children's book publisher. Write a submission letter for a children's story that you
write and send it to the editor or publisher. You can also try self-publishing a
book you have written and selling it to readers via the internet.

B. How to Write Children's Story For Beginners

1. Know Your Target
Writing style must be adapted to the specific age group. In order to simplify the description,
age can be grouped as follows:
• Children aged 2-6 years.
• Children aged 7-11 years.
• Children over 12 years.
Children aged 5 and 6 are likely to read more words than children aged 3 years. This is
something to consider to determine when you can determine the number of images and words
in your book. Many writers think that their children's story books can be read by all children,
but this is not the case.
2. Choose the Right Theme
Don't write from an adult perspective. Get inside the children's minds and don't come up with
complicated solutions. The simpler the better. That way, kids can identify the problem
visually as well as your narrative writing and illustrated pictures.
3. Story Development is Key
All writers must be able to convey the feelings of their readers. The story must be built up
and down so that it is not monotonous. With the various kinds of emotions, children can be
more sensitive to all situations.
Important points to remember:
• Smooth beginnings.
• Starting to run into problems.
• The peak of the problem.
• Solutions.
• Resolution.
4. Keep Conveying Gently
The story must still be dynamic, meaning that it can stir up the emotions of the reader. Try
not to convey your moral message clearly.
5. Balance Words and Pictures

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Because children's stories are short stories, it's best for you to tell your story effectively.
Balance words and pictures to create stories that can improve the quality of your child's
storybook. The writing must be short, concise, and clear. Avoid using terms, figures of
speech, or other words that have connotations. Images must also be adapted to the writing.
6. Relax, Make Your Time
Make a good story plot that can be conveyed roughly. After your child's story book process
starts, correct again.
7. Stay Unique
8. Find a suitable publisher
9. Consider Price

CHAPTER XIII
Drama learning strategy
2.1 Understanding Drama Learning Strategy
Drama is one of the literary genres that exist in two worlds of art, namely
literary arts and performing arts or theater. People who see drama as a literary art
show their attention to the art of writing drama texts which are also known as art-play.
The technique of writing drama texts is different from the techniques of writing
poetry or prose.
People who consider drama as a performing art (theater) focus their attention
on the performance or performance, not just the text. According to their view, literary
texts are only part of the performing arts which must be combined with other
elements, namely: motion, sound, sound, music, and form. : text speeches, pledoi, and
investigations, news in the mass media, essays, and others.
Whether drama is a literary work or as part of the completeness of the theater,
drama texts always lead to performances. This is what distinguishes the genre of
dramatic literature from the literary genre of poetry and prose fiction. The direction
towards the performance causes drama to be synonymous with staging.
As a literary text, drama is a literary genre that has conventions (rules) that are
grouped into two major groups.
First, related to the rules of form, namely the flow and distribution, characters
and characterizations, time and space settings, and equipment (means).
Second, related to stylistic principles, namely the language and dialogue used
by the social environment, the character carried by the characters, and the message
conveyed through the dialogues presented.

2.2 The function of teaching literature

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 According to Situmorang (1983: 25) is the creation of character, namely to
instill a sense of love for literature, so that after adulthood students will mature in
their passion, appreciation, and assessment of literary results.
The drama learning strategy is related to two things, namely:
1. Drama text learning strategies
2. Stage drama learning strategies.

2.3 The drama text learning strategies described

Include:
1. Stratta strategy
a. Staging a drama in the classroom
b. The play by the school theater
2. Analysis strategy
The strategy used in the learning of dormitory appreciation here is one of the
drama text learning strategies, namely role-playing. Role-playing in learning is an
attempt to solve problems through demonstrations and steps to identify problems,
analyze, act, and discuss. For this purpose, several students act as actors and
others as observers. An actor must be able to live the role he plays. Through roles,
students interact with other people who also carry out certain roles according to
the chosen theme.
3. Role playing
Role-Playing Strategy includes a very simple method of staging plays. The
role is taken from everyday real-life stories (not imaginative). Role-playing and
sociodrama are the first steps in teaching drama.
According to Torrance (1976), the things that need to be considered in
role-playing and sociodrama are:
1. If holding role-playing, should be able to try the role of the situation, be the
person. This activity should not be used as therapy.
2. The goal should be educational, not entertainment.
3. Do not rush, students must have the opportunity to follow the role and the
situation and include several aspects.
4. Problems and conflicts should be related to the things that will be used by
students, and about things that will be used by students.
5. The situation should be appropriate to the level of student attractiveness and
maturity.
6. Complex feelings should not be easily changed.
7. The focus of the group effort is to try ways that can be taken to manage the
behavior as effectively as possible.
8. The situation should be open-ended.
9. Pressure is also aimed at helping students learn to think for themselves.
10. The situation and response of the actor develop. Don't talk too much to
yourself.
Meanwhile, according to Shaffel and Shaffel (1967), there are nine steps in
role-play, namely:

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1. Motivating the group
2. Select the cast (casting)
3. Prepare the observer
4. Preparing the stages of the role
5. Role play (performing in front of the class)
6. Discussion and evaluation I (spontaneity)
7. Play (stage) again
8. Discussion and evaluation II, problem-solving
9. Share experiences and make generalizations.
From role-playing, aspects of feelings, attitudes, values, perceptions,
problem-solving skills, and understanding of the subject matter can be achieved.
Side elements that can be achieved through role-playing are:
1. Value analysis and personal behavior
2. Problem solving
3. Empathy for others
4. Social and value problems
5. The ability to express opinions and respect the opinions of others.
During the learning process, each character can practice empathy,
sympathy, hatred, anger, pleasure, and other roles. The role is immersed in the
role it plays, while the observer engages himself emotionally and tries to identify
feelings with feelings that are stirring up and dominating the role. In role-playing
learning, the role is not done completely until the problem can be solved. This is
intended to invite the curiosity of students who become observers to actively
discuss and find a way out.
Thus, the discussion after role-playing will take place alive and excite
students. The essence of role-playing learning lies in the emotional involvement of
actors and observers in real problem situations.
Through role-playing in learning, it is hoped that students can:
1. Explore his feelings
2. Gain insight into attitudes, values, and perceptions
3. Develop skills and attitudes in solving the problems at hand
4. Explore the core of the problem which is acted out in various ways.
Participatory learning has its principles in learning activities and learning
activities. The principle in learning activities is that students have learning needs,
understand learning techniques, and behave in learning. The principle in teaching
activities is that educators master learning methods and techniques, understand
materials or learning materials that are suitable for learning needs, and behave in
teaching students.
These principles are described in the operational steps of learning
activities, as a form of educational interaction between educators and students
and/or between students. Educators have a role to motivate, demonstrate, and
guide students so that students carry out learning activities.
While students have a role to learn, relearn, solve problems to improve
living standards by thinking and acting in and with the world of their lives. The

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 application of the role-playing method (role-playing) is a suitable method for
learning drama appreciation. Because with the role-playing method, drama
appreciation learning will be implemented properly.
4. Socio drama
5. Simulation.

2.4 Drama Appreciation Learning

According to Moody, (in Suminto A. Sayuti, 1985: 197) teaching literature
provides students with four skills, namely listening, speaking, reading, and writing.
Teaching literature, especially drama, is a combination of these four skills. The
learning of drama appreciation emphasizes speaking skills, but it is possible that
listening (listening to drama performances), reading (practicing dialogue/drama
scripts), and writing (writing in drama/scenario). So, the four are related to each other.
The term appreciation comes from the Latin "apreciatio" which means "heed" or
"appreciated".
Appreciation according to Grove (in Aminudin, 1991: 34) implies that:
1. Recognition through feeling or inner sensitivity
2. Understanding and acknowledging the beauty values expressed by the author.
Appreciation involves three core elements, namely:
1. Cognitive aspects
Cognitive aspects are related to knowledge, the involvement of the reader's
intelligence in understanding objective elements of literature.
2. Emotive aspect
Emotional aspects relate to psychological elements, the involvement of
emotional elements of readers or connoisseurs to appreciate the elements of
literary works that are watched/seen. This emotive aspect plays a very important
role in understanding the elements subjectively.
3. Evaluative aspects
Meanwhile, the evaluative aspect is related to an assessment of a literary work
that is read and seen.
The assessment of a literary work can be carried out if he has read or watched,
in this case, a drama performance. The pros and cons of staging a drama depend on
how the supporting elements in the drama can act appropriately according to the
character of each character.

2.5 Steps for implementing role-playing in the learning of drama appreciation

1. The teacher compiles/prepares a scenario to be displayed
2. Designate several students to study scenarios two days before the teaching and
learning activities.
3. The teacher forms a group of students with 5 members
4. Provide an explanation of the competencies to be achieved
5. Calling the students who have been appointed to carry out the scenario that has
been prepared

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 6. Each student sits in his or her group, each observing the scenario that is being
modeled
7. After completing the performance, each student is given a paper as a worksheet to
discuss
8. Each group presents its conclusions
9. The teacher provides general conclusions
10. Evaluation
11. Closing

2.6 Constraints in implementing drama appreciation learning with role-playing strategies

and how to overcome them
1. Time aspect
The time needed in learning drama appreciation with this strategy is longer
than in other lessons. Especially for students who are still unfamiliar with playing
roles/dramas. They need time to memorize the drama text dialogues that will be
played
2. Material/material
The material needed in this study is still very limited. In school libraries, there
are very few books and magazines that have anything to do with learning about
drama appreciation. This hinders the smooth running of the drama appreciation
learning process;
3. Teacher
Lack of teacher knowledge about drama, so that learning drama becomes
unattractive. They even tend to seem neglected, just a theory. Meanwhile, the
implementation/practice of playing drama is still lacking
4. Students
Students do not understand about playing drama. Lack of courage in
portraying a character. They still tend to memorize it, so that they are lacking in
inspiration.

These obstacles can be overcome by

1. By increasing the time allocation outside of class hours, so that it becomes an

extracurricular activity
2. By completing a collection of books, magazines, drama texts, in the library
3. By holding training for teachers on learning creative and fun drama appreciation
4. By training students' courage by often holding drama performances even though
they are the simplest, for example at the end of each semester or the end of each
academic year.

CHAPTER XIV
BULLETIN BOARD

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A. Definition of Wall Magazine

In the General Indonesian Dictionary (KUBI) it is said that a wall magazine is

a magazine not assembled, but in the form of sheets attached to a wall or blackboard.

According to Nursisto, wall magazines (mading) are the simplest type of

written mass communication media. Discussing wall magazines will not be separated
from the discussion about mass media in general. This is because the wall magazine at
school is one part of a number of existing mass media.

Wall magazine is essentially a miniature of a newspaper in terms of

appearance and content. A range of wall magazines must reflect the figure of the front
page of a newspaper plus various content or rubrics that are displayed and desired.
Because the face of the front page is the packaging of the entire newspaper, the
making of the cover page must have certain criteria.

It is called a wall magazine because the basic principle of a magazine is

dominant in it, while its presentation is usually displayed on a wall or the like. The
principle of a magazine is reflected through its presentation, whether in the form of
writing, pictures, or a combination of the two. With the basic principle of the form of
columns, various works, such as paintings, vignettes, crossword puzzles, caricatures,
illustrated stories, and the like are arranged in various ways. All the materials are
arranged in harmony so that the overall appearance of the wall magazine looks
attractive.

The physical form of wall magazines is usually in the form of plywood,

particles, cardboard or other shapes with varying sizes, for example, those that are
relatively large are 120 cm X 240 cm.

So it can be concluded that the wall magazine is a simple form of school

magazine with a low cost so that it is more likely to be implemented anywhere.
Therefore, with the wall magazine, it is hoped that students will have an interest in
utilizing various library materials in the school library as reference material in making
written works and at the same time developing creativity and reading habits.

B. The Scope of Wall Magazine

The scope of wall magazine activities for school students includes creative
activities in channeling ideas, thoughts, imagination and creativity. Drawing, printing,
writing, pasting, arranging, and other wall magazine activities that please students
with simple media and methods which can be developed in teaching and learning
activities and help develop creativity.

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C. The Role of Wall Magazines

Wall magazines have a fairly high role in the efforts of fostering and forming
students, both in terms of knowledge, abilities/skills, talents and interests as well as
attitudes. The main role of wall magazines is as a facility for student activities
physically and factually and has a number of functions, namely informative,
communicative, recreational, and creative.

D. Wall Magazine Functions

1. Wall magazines as a means of communication and information delivery.

2. Wall magazines as a medium of entertainment are cheap and simple, although
the nature and content does not have to be cheap and simple.
3. Wall magazines as a means to establish kinship and kinship among members of
certain communities.
4. Wall magazines as a place to develop creativity.

E. Benefits of Wall Magazines

Wall magazines in schools provide several benefits, namely:

1)     As a communication medium,

wall magazines installed in schools are the cheapest communication media

to create communication between school members. Through wall magazines,
every school member can express his ideas and ideas through various kinds of
writing so that other school members can read them. The installation of wall
magazines is a practical communication considering that the material and volume
of writing can be adjusted elastically, adjusted to the theme and actual conditions
or needs. If the theme or issue that develops is environmental issues, it is very
possible that the wall magazines in schools will be dominated by writings,
pictures, poetry, short stories and others that contain about the environment.

With the wall magazine, various information can be easily disseminated

throughout the school area and many things that were previously unknown
eventually become a treasury of knowledge, both practical and those that require
reflection.

2)     Places for Creativity

In general, student activities are never devoid of creativity, such as sports,

arts, skills, games, and writing expression activities. As a student who is sensitive
to his surroundings, by seeing the fact that in life there are always problems, the
wall magazine will be an impetus to produce writing to release or spill all kinds of
ideas and thoughts.

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 3)     Instilling Writing Habits

Every student has the same opportunity to train themselves in writing.

Writing habits and skills do not occur immediately or automatically, but occur
through a process of learning and practice.

4)     Instilling Reading Habits

Wall magazines must be packaged properly, will be able to attract students'

attention to see and read them so that wall magazines can be used as a medium to
improve reading habits. If this happens, the wall magazine will never be empty of
students who will read it and there are opportunities for students not only to read,
but can inspire students to express their ideas, ideas and creativity in wall
magazines. Thus students are not only readers but also writers.

5)     As a time filler

Wall magazines can be used as a means by students to fill their spare time,
when there are empty hours or during breaks and finishes attending all lessons.
Free time can be utilized by students by reading various kinds of writings that can
enrich their knowledge and insight.

6)     As a medium to train intelligence thinking.

Wall magazines can excite students to look for other readings through the
"bait" presented in wall magazines. It is very possible that the wall magazine
offerings have not fully met the tastes of the readers. This will make the wall
magazine act as an incentive for students to look for other, more complete reading
materials.

The habit of reading will increase students' knowledge in various fields.

The more reading, the knowledge of students will increase and will indirectly be a
driver of increasing student intelligence. Thus the wall magazine acts as an "initial
terminal" that can bridge the birth of knowledge, agility to think and the formation
of intelligence.

7)     As a medium to train the organization.

Organizing a wall magazine is definitely a team work that requires a

process of planning, organizing and supervising. Therefore we need a skill to
organize as a place to achieve goals. The organization of wall magazines is a
manifestation of teamwork or group work that needs to be mutually adhered to.

F. Language in Wall Magazines

Meanwhile, the language used in wall magazines has special characteristics,

namely short, concise, clear and communicative. Short means avoiding the choice of

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 words that are less concise. Dense means using as few words as possible, but can
reach the fullest meaning. Being clear, containing meaning is not confusing, and
communicative contains elements that are easy to understand.

Therefore, in wall magazines, the choice of words becomes the determining

element. Every word chosen must be considered for the sake of carrying capacity of
the provisions. So that the sentence is not too long, if there are several words that have
more or less the same meaning or are synonymous, the shortest one must be chosen. If
there are certain phrases and words that have the same meaning, then a word must be
chosen from that phrase.

Although the language of wall magazines is concise, it does not mean that
abbreviations or acronyms should be used in place of the actual word. If abbreviations
and acronyms must be used, it is better to choose abbreviations or acronyms that are
common and have a high frequency of use.

G. Wall Magazine Characteristics

1. Wall magazines are permanently displayed in a certain place.

2. Concretely, the attractiveness and charm of the appearance of wall magazines
is manifested through artistic visual aspects (facial makeup and color
schemes).
3. Wall magazine readers tend to have certain opportunities that range from five
to ten minutes.
4. Sentences that are long, serious, and convoluted are not suitable for wall
magazines.
5. The limited time for the reader also gives limited exposure to something in
terms of presentation.

H. Steps for the Preparation of Wall Magazines

Sequentially, the activities to publish wall magazines go through the following stages:

1. Planner. The planning department has the task of planning content, layout,
graphics, time, personnel, and costs.
2. Material Collection. The collection of materials can be obtained from two
sources. First, from the inventory that has been filled in by the documentation
section. Second, materials that are processed from the results of reportage
work.
3. Material Preparation. Preparation of materials which include manuscripts and
manuscript editing. Actually it is not necessary because the reporter is also a
writer.
4. Production. The production stage is principally concerned with how to
arrange the materials to be included in the mading, and relates to the layout
of the material in the madding sheet.

63
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