Wayang Research Articles

Revitalizing Ancestral Values through Technology: Using Wayang Kulit to Engage Gen Z in Cultural and Educational Innovation

“Wayang Kulit” is a cultural heritage that combines art, storytelling, education and creativity. Although it has many charms, the lack of awareness as well as opportunity to witness this art and the perceived indifference amongst the younger generation is slowing diminishing the impact of the Wayang Kulit especially in line with ancestral values and education. This research aimed to assess if technology and education using the Wayang Kulit could be an attractive learning tool for Gen Z to apply ancestral culture and values within a modern context. In order to make it more attractive and relevant from a technology perspective, the participants selected were undergraduates from Asia Pacific University of Technology and Innovation (APU) pursuing courses in Multimedia and Games Development. The participants were required to create a short video between 2 to 3 minutes embedding the art of “Wayang Kulit” using popular stories linking it to the Sustainable Development Goals (SDG) for a competition known as “Videre Lumina”. The participants were also interviewed to understand further their experience and whether the “Wayang Kulit” could potentially be a strong asset in educational innovation. This qualitative study used the Social Learning Theory (SLT) and analyzed the videos and interviews using Pragmatist Thinking and Interpretative Phenomenological Analysis. The results reflected positive feedback towards “Wayang Kulit” and the stories behind it. The students were also enthusiastic with the learning process and the ability to communicate their story-telling skills from a multitude of ways including expressing themselves digitally through the stories, backgrounds, music, characters and the puppets. The link to culture was especially noted when participants of different backgrounds portrayed the same characters as hero’s or villain’s depending on their culture or heritage stories. Therefore, the “Wayang Kulit” is definitely an intangible asset that should be continued and celebrated as its benefits and charm can impact education, values and be used as a social engineering tool. The use of technology also provides further opportunities to expand the opportunity to watch this art and further create awareness and appreciation for its value.

Penguatan Pendidikan Karakter pada Generasi Muda Melalui Personifikasi Karakter Pandawa dalam Wayang Kulit

The main problem discussed in this research is the negative impact of modernization which has the potential to damage the character of Indonesia's young generation. This research aims to explore the potential for character education through the application of Pandawa character personification in the traditional art of Wayang kulit. The method used is descriptive qualitative, by analyzing the representation of the Pandawa characters in Shadow Puppets and the values ​​contained therein. Research findings show that Wayang kulit not only maintains local wisdom values, but also carries moral messages and character values ​​that can be adopted by the younger generation. The personification of the Pandawa character highlights positive traits such as courage, loyalty and leadership, which are relevant to character education. The conclusion of this research is that Shadow Puppetry can be an effective tool for strengthening the character of the younger generation, while maintaining Indonesia's cultural heritage. The application of the results of this research can be the basis for developing a culture-based character education program, which is expected to produce a young generation who are responsible and have noble values.

Representation of “Sapa Nandur Ngundhuh” in the Wayang Performance of Cupu Manik Astagina by Ki Enthus Susmono

Wayang kulit not only functions as entertainment, but is also a vehicle for conveying philosophical messages. As in the Cupu Manik Astagina puppet play, there is a philosophical message in the form of "sapa nandur ngundhuh" or whoever plants will reap. Therefore, this study aims to explore the philosophical message of "sapa nandur ngundhuh" in the Cupu Manik Astagina puppet play by Ki Enthus Susmono by representing it so that the message can be conveyed. This qualitative research uses Stuart Hall's representation theory through Roland Barthes' semiotic analysis model, namely symbolic code and action code. The data source is a video of a shadow puppet performance entitled "Pakeliran Solid Wayang Kulit Lakon Cupu Manik Astagina by Ki Enthus Susmono" on YouTube Aa Studio. The listening-note taking technique is used to collect data in the form of words and utterances obtained from ginem and janturan in the story. It is known through the symbol code and action code. The results showed that the concept of "sapa nandur ngundhuh" in the Cupu Manik Astagina puppet play does not only apply to the karma themselves, but can affect other people, including their descendants. In the story of Dewi Windradi, her actions have consequences not only for herself, but also her three children. This research also highlights how karma can be prevented from continuing to reap through some tirakat practices. Such as fasting (ngrowot), meditation and asceticism (tapa brata) which aim to cleanse themselves of past sins and minimize negative karma in the future.

Inkulturasi dalam Pertunjukan Wayang Wahyu: Katekese Iman Melalui Seni

After the Second Vatican Council, the Church showed an open attitude towards local cultural influences as an integral part of its pastoral mission. In Indonesia, the Church responded to this current by adopting various forms of inculturation that went beyond ritual and worship aspects. Br. L. Timotius Wignyosubroto, FIC, responded to this challenge by developing the concept of Wayang Wahyu as an innovative means of faith catechesis through art. Through the establishment of the Ngajab Rahayu group in Surakarta, Wayang Wahyu became a medium that combines elements of traditional Wayang Kulit art with biblical narratives from the Old and New Testaments, as well as religious figures such as the founder of the Order and saints. In every Wayang Wahyu performance, theological dimensions are manifested, such as the Trinity, Christology, Pneumatology, Ecclesiology, and Anthropology. Wayang Wahyu is not just a performing art, but also a creative instrument to instill Christian values and deepen faith catechesis in the local cultural context.

Slapstick in the Wayang Kulit Arena: Gender Domination Practices Lead to Symbolic Violence

<p>This paper aims to explain the phenomenon of <em>dagelan</em> dalang and sinden in Yogyakarta's shadow puppet <em>limbukan</em> scene. <em>Dagelan</em> in Wayang is a humor/joke show to entertain the audience, usually done by dalang with sinden. For some people, <em>dagelan</em> is commonplace because it is generally presented in <em>limbukan</em> scenes for entertainment. However, <em>dagelan</em> in the <em>limbukan</em> section is not just entertainment but causes symbolic exploitation of sinden by the puppeteer with his various practices. Of course, this phenomenon is very paradoxical; on the one hand, the existence of sinden is significant because it supports the success of the shadow puppet show last night, but on the other hand, sinden becomes a victim of ridicule/laughter in a helpless condition because it is dominated and controlled by the puppeteer. The audience and group members even confirmed this dominance. In <em>limbukan</em> scenes, a sinden follows the puppeteer's instructions to sing a song while standing up and dancing. In addition, sinden is also the object of entertainment and even mockery of the mastermind with verbal and nonverbal language that causes discomfort. This is symbolic violence because sinden is a victim of entertainment exploitation. The conclusion shows that the extended exploitation of the mastermind against the sinden in the <em>limbukan</em> scene occurred because of the position of the sinden in a weak place in the ownership of capital compared to the mastermind. Sinden, however, is a part of the domination by the mastermind. On the contrary, puppeteers have various capital to become the dominant class with dominance and power. This leads to symbolic violence by the mastermind against Sinden and can even lead to mental violence.</p>

Wayang Edu: digital application for Wayang Kulit Kelantan

Wayang Kulit Kelantan (WKK) is a traditional performance that has a long process in the learning session. This covers various aspects such as the background of the performance, repertoire, gambalan (puppets), as well as musical instruments and songs. This knowledge requires at least a year to understand the skills and techniques used. Therefore, Wayang Edu is a digital application built based on the analyze, design, development, implementation, evaluation (ADDIE) model to save learning time with traditional practitioners. The majority of users acknowledge that Wayang Edu offers a wealth of information and enables them to gain in-depth knowledge. Consequently, utilizing visual elements to convey messages is more impactful compared to traditional learning methods. Apart from that, Wayang Edu can be used anywhere at the user’s convenience. With the interaction found in the application, Wayang Edu has been used by students as a platform to get additional information about WKK.

Visual comparison of Rama’s and Rahwana’s characters in Javanese and Kelantanese wayang kulit

Ramayana, a well-known tale originating from India, has been embraced across Southeast Asia. In regions like Yogyakarta, Indonesia, and Kelantan, Malaysia, local customs have influenced its portrayal, character representation leading to deviations in storyline and. The aim of this study to compare the visual depiction of key characters, particularly Rama and Rahwana, in Javanese and Kelantanese Wayang Kulit, symbolizing the protagonist and antagonist, respectively. This study intends to contribute by revealing the impact of local visual traditions on the enduring grandeur of the Ramayana tale. The method is comparative study, begin with defining data, collecting data from Yogyakarta and Kelantan master of puppets through interview and documentation, analyzing data, displaying data and draw conclusion. The result is found that there are visual similarities and differences related to Rama and Rahwana character. The common visual similarities such as crown, weapon, cloth and accessories. Meanwhile the difference shows that Javanese and Kelantanese is only about the detail of the cloth, the animal rides (Kelantan version), and the size of the Wayang Kulit. In Yogyakarta, Indonesia, and Kelantan, Malaysia, the story of Ramayana is depicted in unique ways, influenced by cultural variations. These distinctions manifest in the characters' looks, headgear, weapon characteristics, facial expressions, and facial coloring. Further investigation is necessary to delve into these differences and understand the puppeteers' role in conveying moral messages to the community.

Early Childhood Character Education Utilizing Innovative Communication Media Wayang Beber Fable

This research uses the Wayang Beber Fable performance media. Fable stories attract the attention of young children. The goal is that Wayang Beber Fable can be used as an innovative medium for early childhood character education. Observations and interviews were carried out for data collection. The aim is to be able to evaluate teachers' difficulties. The evaluation results show that teachers lack teaching aids for character education. As a solution, workshops and performances are held for students. The workshop aims to learn how to play and make Wayang Beber Fable. The teachers succeeded in playing Wayang Beber Fable independently. This allows teachers to develop performance stories relevant to children's needs. Every Wayang Beber Fable performance always has a moral message in it. Early childhood needs moral teachings. At this stage, children learn to understand the world around them. Wayang Beber Fable can be an innovative medium for early childhood character education. It can even be integrated into a broader character education curriculum. Educators now have alternative media for character education teaching aids that are innovative and interactive.

The Value of Character Education in Wayang Beber Pacitan Ninth Scene

Wayang beber Pacitan is a type of wayang that has existed since the Majapahit era. This type of wayang is a painting which is divided into 24 scenes. Each scene has a main character and supporting characters. Each character possesses different characteristics. The purpose of this study is to find out and describe the main characters in the ninth scene of wayang beber Pacitan, namely, Prabu Brawijaya and Prabu Klana. This study follows the qualitative descriptive research methodology. Several data collection techniques were used, for example, observation, interviews, and document analysis. Purposive sampling was used as a sampling technique. Interactive analysis methods, with Roland Barthes’s semiotic theory, namely, through denotative, connotative, and mythical stages, were used for data analysis. Moreover, triangulation was used for data validation. The research concludes that the characters in the ninth scene can be divided into two, namely, Prabu Brawijaya, as the protagonist, and Prabu Klana, as the antagonist. Prabu Brawijaya, as the protagonist, has the character of being careful, wise, and alert, while Prabu Klana, as the antagonist, has the character of being easily angry, self-willed, and arrogant. The ninth scene of wayang beber Pacitan teaches us about the value of character education so one should always be careful in acting and wise in making decisions and should not be arrogant and selfish as this will have a negative impact on oneself and others. Apart from being an entertainment medium, wayang beber performances can also be used as a medium to convey moral messages. Through stories and understanding the characters in each scene, it can be used as a medium of character education. Keywords: antagonist, character, protagonist, scene, wayang beber

Reinventing the Visuals of Surakarta Style Wayang Purwa: Wayang Creation of Superhero and Anime Characters

Wayang is defined as a performing art that uses Wayang puppets made of leather. As an artefact, Wayang stands as a symbol that connects various cultures throughout the archipelago. However, even though Wayang has succeeded in adapting to the modern era, the reality that is happening now is that Wayang as one of the Indonesian traditional arts is increasingly losing its audience. This article explores the idea of reinventing the visual elements of Wayang Purwa in Wayang creations with superhero and anime characters. This research uses a qualitative descriptive research method with the ATUMICS approach to see the strongest visual elements that are maintained. Research data was collected through literature study, observation, and in-depth interviews with the craftsmen and puppeteers of Wayang Kulit Purwa. Data analysis was carried out using the stages of data reduction, data presentation, and drawing conclusions. The idea of reinvention provides an opportunity to produce works of art such as Wayang creations so that they can adapt to modernity. The result shows that in reinventing Wayang Purwa into Wayang creations based on superhero and anime characters, the changes occur in utility, concept and shape, while technique, materials and icons are maintained. Thus, this article concludes that in reinventing a cultural artefact, not all elements are changed. There are important elements that are needed to be maintained in order for the modern reinvention to retain the identity posed by the traditional cultural artefact.

A Comparative Study on the Character Modeling of Chinese Shadow Play and Malaysian Wayang Kulit

The shadow play cultures of China and Malaysia have a long history and rich cultural connotations, both of which belong to folk art forms. Due to the origin of shadow play culture and the differences in cultures between the two countries, the character designs of shadow play have formed unique regional cultures. This article mainly compares the character styles of shadow play between the two countries, summarizes the similarities and differences in artistic forms of shadow play, and showcases the beauty of different styles. In Chinese shadow play culture, the modelling of characters is usually related to historical stories or myths and legends. The modelling of characters includes the modelling techniques of Paper Cuttings and the colour shading of New Year pictures. In Malaysia's shadow play culture, shadow play is called "Wayang Kulit" and was introduced in Java, Indonesia. Generally, it portrays mythological stories about Hinduism, which is closely related to Java, Indonesia, which originated mainly from Hinduism. Regardless of the culture, the unique shapes and characteristics of shadow play characters can attract the audience's attention, show cultural value in character design, and help the audience better understand and feel the meaning of the characters in shadow play. Finally, through research, promote cultural exchange, dissemination, and promotion of shadow play between the two countries.

Character Education Values of Kresna Character in Wayang Kulit Performance Lakon Kresna Duta by Ki Sigit Manggolo Seputro

Character Education Values of Kresna Character in Wayang Kulit Performance Lakon Kresna Duta by Ki Sigit Manggolo Seputro

Banjar Wayang Kulit As A Media For Implementing The Profile of Pancasila Students Aspects of Working Together

Banjar Wayang Kulit As A Media For Implementing The Profile of Pancasila Students Aspects of Working Together

Suluk pedalangan literature in a semiotic perspective

Suluk pedalangan is a form of Javanese literary work, a type of poetry sung by a dalang (puppeteer) in a wayang kulit (shadow puppet) performance. Semiotically, Suluk functions to explain the characterization of scenes whether they are grand, tense, sad, or happy in accordance with the pathet (arrangement of notes) in karawitan (traditional Javanese gamelan music). This research aims to identify and understand the characteristics of suluk from a semiotic perspective. The method used is descriptive qualitative. The data source is Suluk Pedalangan which was collected by Padmosoekotjo (1978). The results of the research show that the suluk pedalangan texts use the Old Javanese language krama alus and krama madya. The results of the research show that the sulukan in wayang kulit performances has the characteristics of being one of the puppetry literature performed (sung) by puppeteers adapted to the pathet and time. When sung by the puppeteer, the sequence of sulukan is adjusted to the time, rhythm (pathet), and kempyung note sequence (beating two notes together with a distance of two notes). Semiotically, the meaning and function of sulukan in setting the atmosphere hold an important position, broadly serving to intensify, embellish, enhance, and shape the atmosphere in various scenes. Textually, sulukan basically refers to the scenes presented. However, if you do not know the meaning of the words, symbols and figures of speech used in sulukan, the aesthetic value and dramatic atmosphere of the scenes presented in wayang kulit performances will be less meaningful. Philosophically, the meaning of sulukan in relation to the sequence of kempyung notes and the time they are expressed symbolizes the journey of a human life, from birth, childhood, adolescence, adulthood, and old age.Keywords: Puppetry literature, semiotics, sulukan, wayang

Internalization of Ecological Values through Wayang Kulit Sedekah Bumi in Kalitanjung Hamlet, Banyumas, Indonesia

Sedekah Bumi (earth alms) in Kalitanjung Hamlet is held annually, and one of the processions is ruwat bumi with wayang kulit (shadow puppet). This research aims to describe the ecological values of wayang kulit in Kalitanjung Hamlet, Banyumas. This is qualitative research with an ethnographic approach. The data sources consist of the procession and the local community. The sampling techniques used were snowball sampling and purposive sampling. The data collection technique was done through nonparticipant observation and an in-depth interview. The data analysis was explained in three processes: data reduction, data display, and drawing conclusions. The results of this research show that there are ecological values in wayang kulit sedekah bumi. The ecological values in wayang kulit sedekah bumi consist of environmental education values, respect for nature, the fact that humans and nature are interdependent, and nature as a relative.

Analyzing the Evolution of Indonesian Wayang Puppetry and Its Fusion with Modern Theater and Performance Arts

The integration of Wayang, a traditional Indonesian puppetry form, with modern theater and performance arts presents a unique blend of tradition and innovation. This paper explores the challenges and opportunities arising from this fusion, analyzing its cultural, artistic, and social implications. Through collaborative projects and technological advancements, Wayang has evolved to meet the demands of contemporary audiences while preserving its authentic cultural heritage. Audience reception and engagement with hybrid performances reflect the dynamic nature of cultural exchange and dialogue, fostering mutual understanding and appreciation. Despite challenges such as cultural appropriation and technological integration, Wayang continues to inspire creativity, empower communities, and promote cross-cultural exchange. As a symbol of Indonesia’s rich cultural diversity, Wayang bridges the past and the present, offering valuable insights into the transformative power of the arts in a globalized world.

A Visual Analysis Between the Sheng Character of Shadow Puppets from the Central Plains of China and Sri Rama of Wayang Kulit Kelantan, Malaysia

A Visual Analysis Between the Sheng Character of Shadow Puppets from the Central Plains of China and Sri Rama of Wayang Kulit Kelantan, Malaysia

Diksi Dan Gaya Bahasa Janturan Wayang Kulit Purwa Lakon Parta Krama Oleh Dalang Ki Anom Suroto: Kajian Stilistika

The goal of this research is describing the use of diction and style of language in the wayang kulit wayang kulit Purwa Lakon Parta Krama by Dalang Ki Anom Suroto using stylistic studies. The research method used is descriptive qualitative method. The data source for this research is the transcript of the song derived from the recording of the script for the YouTube video of wayang kulit purwa for the Parta Krama play by the puppeteer Ki Anom Suroto. The data used in this study are phrases, words and sentences that have a relationship with diction and style of language. Data collection techniques are listening, listening, and transcription techniques. Furthermore, the collected data were then analyzed using data reduction techniques, data display as well as drawing conclusions and verification. Based on the results of the analysis of the results of research on the use of diction and language style of wayang kulit Purwa Lakon Parta Krama by Dalang Ki Anom Suroto, it shows that there are dictions used, namely 4 tembung dwilingga data, and 8 tembung dwipurwa data which are used to emphasize words in jants puppet. Word repetition gives meaning and rhythmic pressure in the array, as well as provides sound pressure that can beautify sentences for words that contain repetition patterns. Then there are 3 garba data used in abbreviating words to provide efficiency to sentences. The style of language found in this study is 1 data style of comparative metaphor characterized by the impression of comparing one thing with another thing, there are 3 data of style of hyperbole parable, which is characterized by the impression of exaggerating something, and there is 1 data of repetition style of language Alliteration is characterized by the repetition of consonant sounds.

Wacana Islam Geguritan Nurcaya Nursada (Tuan Semeru): Bentuk Moderasi Pemikiran dan Sinkretisme Islam-Hindu

Tuan Semeru is a progressive figure from East Java who is better known as Danghyang Nirartha. The nickname Tuan Semeru is a gift from the Sasak people of Lombok which refers to the figure of a teacher who comes from the Mount Semeru area, East Java. Mr. Semeru himself is the figure who is strongly suspected of creating Geguritan Nurcaya Nursada. His background was a spiritualist and scholar of his time. This article intends to analyze the concepts of Geguritan Nurcaya Nursada in Islamic-Hindu syncretism. Qualitative method with literature review approach is used in this article. The results of the study reveal that the approach of Islamic values to the culture and beliefs of the local community by Sunan Kalijaga by using the wayang kulit media. Similar to Tuan Semeru, the Hindu and Buddhist values approach to Islam is also carried out with the aim of spreading dharma which in Islamic terms is equivalent in meaning to monotheism (God's provisions).

Social Criticism in Wayang Kulit Purwa Performance by Purbo Asmoro, Study of Interpretation (Sanggit) and Treatment (Garap)

This study intends to examine wayang kulit purwa performances [from Central Java] of the plays Réyog Ponorogo and Sang Batara Sambo “Prahara Suralaya,” created by Purbo Asmoro (2022). Both of these works are fascinating to study because in addition to the fact that they are allusions to topical conflicts [in Indonesia] presented in the form of social commentary, the structure and texture of these performances differ from the treatment of wayang purwa performances in general. This problem is studied based on the ethnoart paradigm, using the Interpretation (Sanggit) and Treatment (Garap) Theories and critical analysis. Research data was collected through literature studies, documentation studies, and interviews. The results of the study show that the social criticism revealed in lakon Réyog Ponorogo is blatant, while the social criticism in lakon Sang Batara Sambo “Prahara Suralaya” as a whole is equivocal, but in the closing scene it is blatant. In creating a ‘new’ lakon, the dalang must master various references—both written and spoken—which will later be used as hipogram texts, interpret various hypogram texts into a story, and translate them into lakon wayang. The artistic ability of the dalang greatly influences the quality of wayang performances, the ability of the dalang to choose the elements of pakeliran treatment to be highlighted in each scene, the dalang’s ability to organize the performance supporting team, and the ability of the dalang to read the situation of the audience.