Panji Story Research Articles

Creative Artwork of Elementary School Children's Dance Drama Performance Based on Folklore (Folklore) of Kediri City

Problems encountered related to art education include the rareness of alternative literacy of art forms for elementary school students based on culture. Local art products such as the Panji story will be very valuable if elaborated in the world of children in the form of performing arts. Involving children in the creative process of practicing art can provide empirical experience to improve their creativity. This study aims to determine the level of validity, originality of the work and the applicability of drama dance performance art works for elementary school children. The method of developing this drama dance art work is carried out with the stages of observation, exploration, composition and evaluation. The results of the study showed that the product of the creation of elementary school children's drama dance performance art based on folklore is very valid/suitable for use. This is evidenced by the score of 4.80 obtained by the dance expert validator. The validation results are related to the variety of movements, floor patterns, costumes and make-up. While the second validator obtained a score of 5 which means that the Panji Laras drama dance product/work is very valid/suitable for use. The validation results include the level of originality of the work, novelty and applicability for elementary school children. Thus, the work of dance drama performance art entitled Panji Laras is very valid/worthy of being used.

The Oral Panji Story Rendered by the Javanese Mask Puppet Show

This study focuses on the rendition of the oral Panji Story, registered in Unesco’s Memory of The Word Register in 2017, by the Javanese Mask Puppet Show. We demonstrate that in telling the story, the performer does not use a prepared script. The story is “fluid”, with several variations and innovations based on the performer’s interpretation. Its composition depends on both the context of the performance and its length. In Javanese culture, the creativity of the performer (dalang) extends only to the way he renders the story, whereas its title and the order of events are a “public property”. The nyantrik method is a mode whereby the tradition is passed down from one generation to another. The method not merely ensures the transfer of the performer’s knowledge and experience to other people, but maintains the connection with the Almighty. We analyze the specificity of rendering an oral story in traditional performing art.

Устное «Сказание о Панджи»: исполнение в яванском спектакле в масках

В статье рассматривается один из способов представления устной традиции цикла «Сказание о Панджи», внесенного в 2017 г. в реестр документального наследия ЮНЕСКО «Память мира», — яванский спектакль в масках. Результаты исследования показывают, что исполнитель в своем повествовании не пользуется заранее составленным сценарием. В спектакле «Сказание» пластично и имеет несколько вариантов и нововведений в зависимости от интерпретации исполнителя. На композицию повествования влияют как внешние условия, так и продолжительность представления. Уникальность яванской культуры состоит в том, что исполнитель-даланг может проявлять свое творчество только в изложении истории; название и порядок сюжета являются общественным достоянием. Методика «нянтрик» служит способом передачи традиции из поколения в поколение; с помощью этой модели не только знания и опыт исполнителя передаются другим людям, но и осуществляется связь со Всевышним. В настоящем исследовании анализируются особенности устного повествования в традиционном исполнительском искусстве.

Representation of the panji figure as a millennial-era avenger

The purpose of this research is to explore how the character of Panji is represented in the millennial era. The Panji stories are a treasured historical legacy that once flourished in the past, particularly during the Majapahit era, and spread to various regions in the archipelago and some Southeast Asian countries. Panji is closely associated with being a protagonist figure, which is why he is considered a role model for living a righteous life. In the realm of education, the Panji stories can be thoughtfully incorporated as teaching materials for students, particularly in character education.The character of Panji can serve as a model or avenger, akin to a Nusantara superhero. This research adopts a qualitative research method, and data is collected through secondary sources, such as literature, books, articles, documents, and websites. The findings of this research represent Panji as an avenger in the millennial era, combating the growing influence of Western culture that has seeped into the paradigm of the millennial generation in Indonesia. Moreover, it fosters a sense of patriotism by appreciating the rich cultural heritage of the nation.

The Meaning of Bandopati Losari Mask dance as a Symbol of Cultural Expression

This journal aims to analyze the meaning of Topeng Kelana Bandopati Losari Dance as a symbol of cultural expression, This type of research is descriptive qualitative. The results of this study show that dance is a cultural heritage that is still very thick in its authenticity and shows the character of this nation. Mask dance character: Panji Sutrawinangun, Patih Jayabadra, Samba/Pamindo, Tumenggung Magangdiraja, Jinggano, Tumenggung-Patih, Kelana or Rahwana, Rumyang. The Kelana mask is a depiction of someone who is wrathful, greedy and unjust. Topeng Kelana dance is often associated with Panji stories. The character education values that we can apply daily from Topeng Kelana Bandopati are religious values, discipline, hard work, love for the country, responsibility, tolerance and helping.

Character Design of Mahapatih Gajah Mada Based on Visual References from Bima and Brajanata/Kertala Statues

Mahapatih Gajah Mada was a great figure who united the archipelago in his time, but no statues have been found that depict the figure. Archaeologists disagree on the accuracy of the human head statue artifact referenced by Mr. Muhammad Yamin, as it does not have any markers that indicate it is a statue of Mahapatih Gajah Mada. To design an accurate visualization of the character design of Mahapatih Gajah Mada, this design is divided into 2 stages: data mining and character design. Data mining involves a data search related to Mahapatih Gajah Mada and culture during the Majapahit Kingdom Era. Character design involves designing the character design of Gajah Mada using data from the references that have been obtained. Data searches have revealed that Mahapatih Gajah Mada is likely to be the Brajanata/ Kertala character in the Panji story and the Bima character in the Mahabarata story. The character has a large, tall body, strapping, crossed mustache, and wavy curls, using a headdress in the form of a foreheadband with carvings, upper arm bands made with snake motifs, a belt with a Kala head patterned buckle, and an upawita (caste rope) that crosses from the left shoulder to the right waist depicting Gajah Mada's caste. For weapons, Gajah Mada carries a keris with a cundrik type (not notched) and an oval mace, which means that Gajah Mada is one of Lord Vishnu's attendants who has a guardian nature. The design of the oval mace takes reference from door guard statues.
 
 Keywords: Character Design, Gajah Mada, Majapahit kingdom

Peliatan Style in Legong Keraton Lasem Performance

The Legong Keraton Lasem dance is one of the classical Balinese dances featuring Panji's story about the love story of King Lasem and Diah Rangke Sari. This classical dance first appeared and developed in the palace environment of Bali. There have been many research results on the Legong Keraton Dance. However, there has not been any research that reveals the Legong Keraton Lasem and Peliatan Style. The problems are: 1) How did the Peliatan Style in Legong Lasem Performance Originate?; 2) What is the form of the Peliatan Style in Legong Keraton Lasem dance?. The purpose of this research was to reveal the existence of the Peliatan Style in Legong Keraton Lasem Performance, which has catapulted Bali's name into the eyes of the world. This research was conducted using qualitative methods. The source of the data for this study was the Legong performance, the dancers, musicians, artists, cultural observers, and related communities who were selected based on purposive sampling and snowball techniques. All data that has been collected through observation, interviews, and literature studies will be analysed using aesthetic theory, hierarchical theory, and practical theory. The results showed that the Peliatan Style in Legong Keraton has a distinctive characteristic in the volume of dance movements performed, which tends to be large with the maximum tilt of the dancer's body. It is different from how to dance the Legong Keraton in general. The Legong Keraton Lasem with Peliatan Style emerged due to two factors, namely internal and external factors. Internal factors include the talent possessed by the Legong dancers themselves. They dance with the aim of satisfying their material and spiritual needs. Meanwhile, encouragement from outside came from the environment of Peliatan Village, which is indeed famous for its artistic activities; its people are very passionate about art every day.

NGELMU: AUGMENTED REALITY-BASED PANJI STORY LEARNING APPLICATION IN GAME-BASED LEARNING AS AN EFFORT TO REVITALIZE CULTURE AND CHARACTER EDUCATION IN ELEMENTARY SCHOOL

The story of Panji is a form of cultural revitalization that has begun to fade and be displaced by the presence of superheroes who have been adopted from western culture. Unfortunately, the majority of these figures are contrary to the noble values of the Javanese ancestors and are more oriented towards the modernization of western culture. Therefore, this study aims to map the strengths, weaknesses, opportunities and threats of the Ngelmu application which is oriented towards growing interest in learning for elementary school-age children in getting to know Panji Stories and the moral messages it conveys. The results of the study show that Ngelmu has unique and interesting features in increasing students' interest in learning. Among them are: Mirengake, Ngagara, Nyimak, Ngromo, Mitutur. From the results of the analysis, it was concluded that Ngelmu is one of the applications designed to introduce and preserve the Panji Story so that it continues to exist even though the use of technology is classified as increasing. Through this Panji story, users will be introduced to a leader who has noble character and manners in accordance with the teachings of Javanese culture. In addition, this application aims to make the younger generation familiar with original Indonesian heroes before they admire superheroes from western countries.

Myth In The Story Of Serat Panji Narawangsa Horse And Raden Klana In Wayang Beber Pacitan

This research is a structural study of Levi-Strauss which analyzes the myths contained in the Panji story in the Serat Kuda Narawangsa version and Raden Klana in the Pacitan Wayang Beber version of the story. The results of this study are that there are myths contained in the Serat Kuda Narawangsa, namely a female giant creature with the power of disguise as Dewi Sekartaji and the magic of Raden Gunungsari who shoots a female giant who then runs and flies with his strength. Then, in the Pacitan Wayang Beber story there is a myth that is contained in the character Raden Klana Sawendana can change form into Raden Gandarepa with his supernatural powers, besides that there is a myth that is contained, namely Ki Tawang Alun using the Pasopati Keris to kill Raden Klana Sawendana. It can be concluded that the story of the banner in the version of Serat Kuda Narawangsa and Wayang Beber Pacitan has a myth that can be analyzed using a structural study from Levi-Strauss which does not have to be contrasted with history or reality because it is considered a fairy tale even though in the storyline there is a reflection of the life of the people who own the fairy tale.

Myth In The Story Of Serat Panji Narawangsa Horse And Raden Klana In Wayang Beber Pacitan

This research is a structural study of Levi-Strauss which analyzes the myths contained in the Panji story in the Serat Kuda Narawangsa version and Raden Klana in the Pacitan Wayang Beber version of the story. The results of this study are that there are myths contained in the Serat Kuda Narawangsa, namely a female giant creature with the power of disguise as Dewi Sekartaji and the magic of Raden Gunungsari who shoots a female giant who then runs and flies with his strength. Then, in the Pacitan Wayang Beber story there is a myth that is contained in the character Raden Klana Sawendana can change form into Raden Gandarepa with his supernatural powers, besides that there is a myth that is contained, namely Ki Tawang Alun using the Pasopati Keris to kill Raden Klana Sawendana. It can be concluded that the story of the banner in the version of Serat Kuda Narawangsa and Wayang Beber Pacitan has a myth that can be analyzed using a structural study from Levi-Strauss which does not have to be contrasted with history or reality because it is considered a fairy tale even though in the storyline there is a reflection of the life of the people who own the fairy tale.

The Development of the Wayang Panji Nusantara Network Model to Strengthen the Articulation of the Panji Culture in Southeast Asia

Wayang Panji is a puppet based on Panji stories that developed in Southeast Asia. The story of Panji in the art of wayang is found in Malang mask puppet art, Krucil Kediri puppets, Madurese puppeteers’ puppets, Banjar Kalimantan puppets, Thai Siamese puppets, and wayang puppets in Kelantan Malaysia. The development of Panji culture in Indonesia has been partly through the Panji Nusantara Week activity, which is held once a year, and features performances of Panji-themed arts in several cities in Indonesia. The Panji Cultural Week, which has been held for the past few years, has yet to touch all areas of Panji-themed art, both in Indonesia and abroad. Panji wayang art, which is one of the Panji cultural products, is overlooked by practitioners of Panji culture, even though Panji wayang art is spread across several regions in Indonesia and in several Southeast Asian countries. This research sought to develop Panji-themed wayang art in the Southeast Asian region, so that it has parallels with other Panji-themed arts, through the development of the Panji wayang network in the Southeast Asian region. The Panji Nusantara wayang network aims to build cultural communication between actors and observers of Panji wayang art in the Southeast Asia region and serve as a publication media for Panji puppets for the general public. The cultural communication media was formed as a virtual collaborative performance event, while the wayang Panji publication media is in the form of a digital application-based platform that contains a database for the Panji Nusantara puppet, profiles of the Panji wayang artists, and a roster of the performance activities. This research used the Willis design development method combined with ethnographic methods. The research data were collected in East Java and Kelantan Malaysia.
 Keywords: Development, puppet, panji nusantara, southeast asia

When dad and mom are away from home...; "Panji Paniba" 11.20-45

Access to the pre-modern world of Classical Javanese literature (seventeenth-nineteenth centuries) starts with a sound knowledge of its idiom. “When dad and mom are away from home...” leads the novice through grammatical constructions and vocabulary not found in Modern Javanese literature. The light-hearted story providing these examples is taken from the Panji Paniba . This early nineteenth-century text belongs to a famous group of Javanese romances of chivalry going by the name of “Panji stories”, all set in the Hindu era of the East-Javanese kingdom of Kediri.

Tracing the Traces of Roman Panji & Its Influence on Mask Art in Bobung, Yogyakarta, Indonesia

This study aims to explore the history of the journey of the Panji story and find out its influence on mask art in Bobung, Gunung Kidul, Yogyakarta. This study uses a qualitative descriptive approach with a historical perspective. Data sourced from informants, places & events, and documents/archives collected using in-depth interviews, participatory observation, and content analysis techniques. The validity of the data was tested with the technique of reviewing informants and triangulation of data sources. Data were analyzed using an interactive model consisting of data reduction procedures, data display, and verification or drawing conclusions. The results of the study show that Roman Panji became the original hero of the archipelago, especially Java, which experienced a peak of popularity during the golden age of the Majapahit Kingdom, namely the middle of the VIII century. Panji became a novel that spread widely covering the archipelago to Southeast Asia. The end of the VIII century until the XV century Panji Mask became a popular show where King Hayam Wuruk was famous as a mask dancer and the main dancer in racket performances. Wayang Beber is a wayang art which in the show brings the story of Panji. Wayang Beber art is in Pacitan, East Java, but also in Karangmojo, Gunung Kidul Yogyakarta. Mbah Karso was the first mask master who was influenced by the Panji story and created the masks that still exist and thrive in Bobung, Gunung Kidul, Yogyakarta. In the current era, Panji Masks have been commodified into handicraft products with economic and tourism value.

Cultural Transformation of Farmers and Cycle Panji in the Puppet Krucil

The farmer cultural system is based on tillage and planting cycles. The patterns produced from system tillage and planting cycles then form a system of civilization based on the future of the garden or tillage. The agrarian ecological system inspired cultural expression that is manifested in a variety of cultural activities. One of the cultural poducts of farmers is the stories of the wayang Krucil, who were involved in the Panji cycle. Krucil puppet art shows are cultural performances that are creative and reflect the spirit of the times. Panji stories in the puppet Krucil can be described by their constituent structures. Cultural farmers are very dependent on the presence of the sun and water, so the sun and water symbols are very dominant. The structure of peasant culture can be demonstrated by a reciprocal relationship between humans, the sun, water and air. Symbols can transform into various forms. The transformed symbols of the sun and water can be found in the model of the stage, the structure of the story, and the depiction of the characters in the puppet Krucil. Agrarian society has always had mechanisms to develop their culture, including developing cultural patterns that are different from the maritime community.
 Keywords: farmer culture, pennant cycle, puppet Krucil

Polarization of Panji Tradition in the Visualization of Archipelago Puppet: A Comparison of Panji-themed Puppet Characters in Indonesia and Malaysia

Panji-themed puppets are puppets that enact a story from the panaji chronicle. These puppets are found across the island of java and several other areas in the archipelago. Panji-themed puppets can be found in krucil puppetry in java and in siamese puppetry in kelantan Malaysia. While a krucil puppet uses a panji story as the main story, in siamese puppetry, a panji story is the branch of the story. The difference in the characters of a krucil puppet and a siamese puppet is related to the interaction of panji tradition with local traditions.
 Keywords: Panji tradition, puppet, Indonesia

Educational Values in Learning Dance Andhe-Andhe Lumut Art Studio Based on Panji Story Approaching Holistic Art Criticism

Educational Values in Learning Dance Andhe-Andhe Lumut Art Studio Based on Panji Story Approaching Holistic Art Criticism

Persebaran Cerita Panji dalam Spirit Kenusantaraan

The Creation of the Character of Xiao Mei in the Play Script of Senja dan Penantian by Hernandes Saranela Inspired by the Chinese Widow Film. The Panji story that appeared around the XIII century at the end of King Airlangga in Singasari, East Java, became popular in the golden age of the Majapahit kingdom. In 1330 Gajah Mada was appointed by King Putri Majapahit Tribhuanatunggadewi as the ‘Mahapatih’ of the Majapahit kingdom. One year later, in 1331, to be precise, Mahapatih Gajah Mada made an oath known as the “Palapa Oath.” The “Palapa Oath” stated, among other things, that Gajah Mada would not enjoy/eat a palapa before “Nusantara” could be unified. As Mahapatih, every effort was made to realize the ideals contained in the “Palapa Oath.” Mahapatih Gajah Mada increasingly found a clear path after Tribhuanatunggadewi died, and was replaced by his first son named Hayam Wuruk. When he was crowned, king Hayam Wuruk was 16 years old. Under the inexperienced ‘Raja Muda,’ Mahapatih Gajah Mada’s power grew even more remarkable. It is even said that the real king of Majapahit was Gajah Mada. Due to the tremendous efforts of Mahapatih Gajah Mada, the expansion of the Majapahit empire was influential in various regions throughout the Archipelago. Furthermore, with a synchronic approach, it can be assumed that the spread and existence of the Panji story in various regions in Indonesia can be considered as traces of Mahapatih Gajah Mada’s expansionary politics in realizing his ideals as pronounced in the famous ‘Palapa Oath.’ As it is known, the distribution of the Panji story then adapted to local cultures, which made the Panji story have various versions. For example, the Panji story’s performance in Central Java, Malay, Lombok, Kalimantan, and even to countries on the Southeast Asian peninsula. So two important things to note are that the spread of the Panji story in various regions is in line with Gajah Mada’s expansionary politics. It contains the spirit of ‘Kenusantaraan.’ Various versions of the Panji story in the multiple areas show the nature of diversity in the Archipelago’s unity, which is centered in the Majapahit Kingdom. That is what inspired the founders of this republic to adopt the philosophy of “BHINEKA TUNGGAL IKA,” including the color of the flag “red and white” derived from “coconut sugar,” which has been known since the Majapahit era.Keywords: the distribution of the Panji story; the Palapa Oath; the Archipelag

Reconstructing the history of Panji performances in Southeast Asia

The circulation of Panji stories throughout Southeast Asia has been studied as a textual phenomenon. These same texts, however, provide evidence of how theatrical forms were important as a source for the dispersal of Panji stories. The textual evidence demonstrates that dance-dramas presenting Panji stories were performed in Majapahit times. These dance-dramas, known as raket are continued in the gambuh of Bali as well as in Javanese topeng . They were also widely known in the Malay world, and were connected to Thai and Cambodian theatrical forms.

The ideal match; Views on marriage in Panji Paniba (1816)

Panji Paniba of 1816 is a Panji story. It is built on a plot which is characteristic of Panji stories: four Javanese kingdoms in a Hindu setting, a princess who disappears and a prince, her fiance, who finds her again. Another characteristic of Panji tales is the happy ending of marriages and successions to thrones. Interestingly in Panji Paniba a foreign king has a role to play. Crucial to our understanding of this particular version of Panji stories is the special attention it pays to types of marriages. Three types can be distinguished: proper, improper but repairable, and objectionable. How these are defined and how they influence the development of the narrative is the topic discussed in the present article.

The "Sair Kin Tambuan"; A Banjarese Versified Version of a Well-known Panji Story

The Syair Ken Tambuhan (“Poem of Lady Tambuhan”) is a traditional Malay Panji tale in verse which is known in three redactions (short, middle, and long), all seeming to have a Sumatran origin, although an alternative hypothesis suggests that it might have originated from Borneo, in the Banjarmasin area. This article describes the hitherto unstudied Banjarese manuscript Sair Kin Tambuan from Kalimantan which represents the long redaction, running parallel to Klinkert’s 1886 edition which is based on a Riau manuscript. Probably copied in the twentieth century, since the mid-1980s it has been kept under call number N 4228 in the Museum Lambung Mangkurat in the town of Banjarbaru, South Kalimantan, Indonesia. Discussing a few variant readings, based upon comparisons with the text editions by Klinkert (1886) and Teeuw (1966), it is made clear that variae lectiones causing “philological alarm” are never “without value”, because problematic passages necessitate a close reading allowing analysts to delve deeper into the text.