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| Content | Issues |
|---|---|
| Bu Tia tells Rena the truth that Yudha is her father | Maintaining traditional values Role of the family |
After Bu Tia has tentatively raised the subject of Rena’s family, Rena now asks her directly if Yudha is actually her father. Bu Tia confirms this truth, expecting a positive reaction from Rena. However, when asked if she is happy Rena responds formally and politely but without expression or emotion. She says she is. She then silently leaves the room rejecting Bu Tia’s attempt to reach out to her.
What film techniques are used in this scene to convey the relationship between the two characters?
| Content | Issues |
|---|---|
| Rena wanders in the traffic at night | Rural and urban divide Isolation and loneliness Overcoming adversity |
After snapshots of the water tower and rain falling at Rumah Matahari, the film crosses to shots of moving traffic and then to Rena wandering aimlessly amongst traffic in the town at dusk as an atmosphere of melancholy is created by the music.
Later that night, Rena returns to Rumah Matahari and climbs the water tower with the dress over her shoulder.
Compare the symbolism of water in this scene to that of Extract 1.
| Content | Issues |
|---|---|
| Yudha arrives at Rumah Matahari, sees the new dress hanging from the water tower | The role of the family Isolation and loneliness Overcoming adversity |
| Rena locks herself in her room, refuses to speak to anyone | Isolation and loneliness |
| The adults realise that Rena has known her father is alive for the past three years | Overcoming adversity Isolation and loneliness |
| Rena comes out from her room, begs to stay with the others at Rumah Matahari | Acceptance and belonging Role of the family |
| Yudha leaves despondently | Isolation and loneliness |
This scene begins with Yudha pulling in to the driveway of Rumah Matahari and sees Rena’s new dress hanging from the water tower. The voice over of Bu Tia and Bi Asih explains that Rena has locked herself in her room, refusing to speak to anyone. Yudha, the other children, Bu Tia and Bi Asih all attempt to persuade Rena to come out but to no avail. Yudha, knocking at the door, identifies himself as ayah, much to the others’ surprise. Rena responds angrily, saying not to lie to her anymore, that she knows the truth and that her father is evil.
Bu Tia then takes Rena’s file from the cabinet and the adults conclude that Rena has known for the past three years that her father is still alive.
Rena finally comes out from her room into the arms of Bu Tia, begging her not to let Yudha separate them. She says she has forgotten the past and wants to stay at Rumah Matahari with the other children.
Yudha descends from the water tower with Rena’s new dress over his shoulder and, in defeat, replies to the children that he doesn’t know when he will be back.
Analyse the use of lighting in this scene.
| Content | Issues |
|---|---|
| Rena sleeps, Bu Tia tells Bi Asih the story of the accident in which Rena’s family were killed | Isolation and loneliness Overcoming adversity The role of the family |
Bu Tia explains that Yudha is indeed her cousin, the son of Pak De
Narendra, the most successful and affluent family member. She then tells the
story of the accident when they went on holidays together for the 50th wedding
anniversary of Pak and Bu De. Their bus rolled down the side
of a ravine killing everyone except Rena, who was miraculously unharmed, and
Yudha, who was in a coma.
When Yudha came out of hospital, he didn’t have the heart to see Rena and asked Ibu Rosi, Bu Tia’s mother, to look after Rena. Not long after that, he asked her to take Rena to Rumah Matahari and care for her full time. In the first year, he often visited. In the second, he only phoned and then he disappeared entirely from Rena’s life.
What is the symbolism of origami cranes in Japanese culture?
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