In the variation of #arjunaWiwaha based on #mahabharatha adaptated to #Javanese culture – #Srikandhi as the form of female archers mentioned appeared in the battlefield. As well as the variation of the incarnation of the #godoffertility #Sembadra whom grew their crop fasters than any other lands. While some part of #Ranggawarsita writings as a premunition he mentioned without obvious the existence of a female ruler thinker in the era of #RatuAdil. It is showed despite not often stated in the manuscript, yet different era of writings mentioned the existance of female character, obvious or not, named or not, having an important role of turning the plot of the story in the writings that considered as folklore rewriting (such as Arjunawiwaha and #pararaton) or as historical writings (such as #Negarakertagama and #BabadTanahJawi )
While the production of western reconstruction of famous story on #WaltDisney cartoon were questioned the numbers of female as main protagonist fighters rather than the fairytale (read the difference: #cinderella female whose living in a domestic abuse home getting he prince by the help of magic, the #sleepingbeauty cursed for inheritance sins of her parent’s wealth and power’s mistakenly of refusing one of witch whom cursed her adulthood in the spinning wheel of her death, helped by a mother fairy guardian told instead of death she’ll eternally hibernate until someone with pure heart would waken her up, in this story by accident the super human is a prince – none of them did the actual effort to fight, well perhaps cinderella) compare to those which not end “happily ever after” as a female fighter (#pocahontas, travel across the oceans only to be found discriminated, hunted, and died as coloured woman, #mermaid, found and captured as a human by pirates to be used to find the underwater treasures) compare to non walt disney cartoon whose mostly male figure, i.e infamous #DragonBallz with #sexualisedfigure of female exposed and the cultural knowledge of obaacan (means uncle, an idiom in Japanese of a “dodgy middle age men who likes young girls”) as the turtle man showed a tendency of a paedophia, a cultural exposure common in one culture but not in other showing either couragious or stupidity. Writer showed one’s underpant, used and unwashed, of a female as a payment to the dodgy obacan-turtleman despite how magnificently magical he is. It showed as if the most importance of the main female character is to give her underpants up to this magical turtle so he will fight for them (bear in mind, the most magical superpower stance in dragonbals called “kamehameha” is an actual place and folklore in the pasific around hawaian islands as a firey mountain in the ring of fire) Similiar story also appeared in briefly in the hikayat Raja-Raja where the youngest Klenthing Kuning had to kiss the old crab (yuyukangkang) to ge through the river instead she gave him a punch and run off. Something familiar to the Roro Mendut’s story.





