Wayang Performance Research Articles

Shortage of sculptors of shadow puppets’ facial features (Bedhahan) for Wayang performance

Shortage of sculptors of shadow puppets’ facial features (Bedhahan) for Wayang performance

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.

The Role of Sinden in Wayang Golek: Functions And Challenges

In this era, the artists who preserve wayang golek are elderly. The urge need of the next generation to continue the journey of this art. Especially a sinden, in this art the role of sinden is very important even almost equivalent to the dalang. There are many young people who already have artist legality, whether academically or not. But rarely are they willing and able to be involved in the realm of wayang golek. This obstacle is related to the very high musical complexity. The focus of this research is to analyze the role of a sinden in wayang golek performances, both in terms of functions and challenges. The method in this research uses descriptive qualitative, with data collection techniques through literature and field study. Literature study is in the form of theses and dissertations. This technique to analyze previous studies related to the object of research. Field study techniques, namely data collection by means of observation, interviews, document collection, and triangulation. The position of sinden in this performance is very important, visual aesthetics and musicality of sinden are very influential on the success of a wayang performance. This is a big challenge for anyone who wants to become a wayang singer. Understanding Sundanese musical knowledge and lakon wayang is the main asset for a sinden. Also the risk of social pressure by facing society’s negative paradigm towards the profession of sinden. This study explored more deeply the specific functions and challenges of sinden wayang golek, visually, musically and socially.

Accountability of Shadow Puppet Performances as Evidence of Surakarta's Local Wisdom: Perspective of Stakeholder Satisfaction

This study explores how the accountability of shadow puppets in performances using the perspective of stakeholder theory is related to accountability, so that it can be in accordance with the principle of accountability, where in every organization and stakeholders get satisfaction as in stakeholder theory. Wayang performance as a noble value in the culture of local wisdom in Surakarta in particular, is expected to run sustainably and sustainably, namely by paying attention to the stakeholders in it, namely sinden, pins, niyaga, pangrawit and sound system workers, whether it has run well according to rights and obligations. The respondents selected include: sinden, pins, niyaga, pangrawit and sound system workers. The results of this research are formed from satisfaction outside finance, among others: developing a noble culture, harmonious guyub and nerimo ing pandum to become a strong foundation for art actors to maintain the wayang tradition in the midst of the onslaught of the era of globalization and modernization. Art actors, who in this case are stakeholders of puppet performances, uphold mutual cooperation, help each other and leave the results to the creator. The distribution of work responsibilities in wayang does not only depend on the puppeteer but can be transferred to pins and sinden, but for the distribution of honorarium the puppeteer plays a role and is fully responsible for his internal stakeholders such as pins, niyaga and sinden. The principle of loyalty is reflected in internal stakeholders in shadow puppets. Commitment, right promise is reflected in the sincerity of an artist in living the shadow puppet culture, this is what makes wayang performances have a high existence and are able to survive, sustainable in an era that is all digitalization.

Hybrid Aesthetics in Contemporary Crafts: The Presence of Sustainable Art and Craft and Vernacular Themes in the Wayang Performances in Indonesia

Hybrid Aesthetics in Contemporary Crafts: The Presence of Sustainable Art and Craft and Vernacular Themes in the Wayang Performances in Indonesia

TETIKESAN PRACTICAL TRAINING OF WAYANG PARWA BEBADUNGAN STYLE PERFORMANCE IN SANGGAR MAJALANGU

Abstract Wayang Parwa performances in the last three decades have become increasingly rare in society. This performance originates from the Mahabharata epic and is accompanied by the Gender Wayang gamelan, which is one of the oldest in Bali. Wayang Parwa is usually used as a basis for learning to become a puppeteer in formal and non-formal education. Wayang Parwa has many versions, and in Bali, there are four styles of Wayang Parwa: Bebadungan Style, Sukawati Style, Tunjung Style, and Buleleng (North Bali). One of the styles with the most favorite is the Bebadungan style, which is spread across six districts/cities in Bali, such as Tabanan, Negara, Klungkung, Bangli, Karangasem, and Denpasar City. With the emergence of various variants of innovative wayang performances, the popularity of Wayang Parwa has decreased. To maintain the existence of the Wayang Parwa Bebadungan Style performance in this millennial era, conservative efforts needed to be made, namely through training. Considering the Wayang Parwa Bebadungan style performances by today's young puppeteers, many need to be stronger in Tetikesan (puppet movements). For this reason, the training material provided to members of Sanggar Majalangu, Kerobokan Village, North Kuta District, Badung Regency, led by I Made Agus Adi Santika, is Tetikesan. This training could answer the public's opinion that the weakness of the Wayang Parwa Bebadungan style performance refers to Tetikesan. The training was focused on one of the studio members using instructional, structured, gradual, and innovative learning methods by utilizing YouTube media, which releases audio recordings of Wayang Buduk performances by puppeteer Ida Bagus Arnawa (deceased) and his son, puppeteer Ida Bagus Puja (deceased) as standardization of the Bebadungan style. Keywords: Training, Tetikesan, Wayang Parwa Bebadungan Style

Media Socialization Of Surakarta City Government Programs Through Shadow Puppet Shows In 2022

This research aims to determine the communication process of the socialization of the Surakarta City Government program using shadow puppet media in 2022. The research method uses a descriptive analysis approach with data collection methods through observation methods, interview methods, and literature study methods. The data obtained was analyzed descriptively and qualitatively consisting of data reduction, data presentation, and drawing conclusions. The research results show that communication is an important element in implementing wayang performance activities as a medium for socializing government policy programs. The communication process through puppets can run more easily, more comfortably, and on target. So that the socialization material order can be understood by the public. Puppets can be a means of communication between the government and the community (wayang audiences) in delivering programs, in this research the Law on Illegal Cigarettes program with the theme Gempur Illegal Cigarettes.

Stand Up Sinden: Komodifikasi Dalam Pertunjukan Wayang Kulit dan Live Streaming Youtube

The creation of YouTube content and live streaming of wayang kulit (shadow puppet performance) on the personal channel of a dalang (puppeteers) represents an effort on the part of the individual dalang to gain viewers and expand consumer base. The performance of the sinden (singer) who stands, dialogues, sings and danc­es during the wayang performance is a special attraction for the audience of wayang fans (this article uses the term “stand up sinden”). This article will broadly discuss the form of commodification that occurs in the stand up sinden practice seen in Ki Seno Nugroho’s (KSN) wayang show streamed on Youtube. This discussion aims to examine the form of commodification that occurs in the stand up sinden phenom­enon and its possible future impact, especially in the world of wayang performing arts. This research uses a descriptive qualitative method with document data sources (including personal and Youtube social media channel sites), interviews, and partici­pant observation conducted by the author. This research suggests that the commodifi­cation that occurs in the KSN shadow puppet show that employs stand up sinden is in accordance with Vincent Mosco’s thoughts on the three aspects of commodification: content commodification, audience commodification, and worker commodification. Of the three aspects, content commodification is the most dominant form of commod­ification in KSN performances, especially for stand up sinden. Stand up sinden, as a trend of commodification in wayang shows, influences other artists to make various efforts to match the same level of performance standards. The commodification that occurs in KSN performances on the one hand can facilitate and give pleasure to the achievement of the coveted sales of the performing artists. On the other hand, performances that lead to commodification erode the objective consciousness of the audience owing to instrumental/media logic, and things that become popular quickly also risk being quickly abandoned, due to the flow of new interests for other creative industries. The influence of commodification also tends to make artists cater to audi­ence will and may suppress their own artistic will in their works.

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.

Phenomenological study of teenagers wayang fans

Recently, there has been a phenomenon of the existence of wayang fan groups as traditional art among teenagers, which is an element supporting the existence of wayang in the postmodern era. The purpose of this study is to explore the meaning of wayang and the activities of wayang art fans among teenagers. This study used a phenomenological approach by conducting interviews as a data search technique to seven teenager members of Sanggar BALADEWA. The results showed that: (1) the identity of wayang art fans was formed from the background as a ‘puppeteer family’ and a ‘fan family’ which created differences in meaning in wayang; (2) wayang fans are divided into active fans and passive fans as seen from their activities in Sanggar BALADEWA as a wayang fandom; (3) the existence of wayang for wayang art fans has shifted its function as entertainment due to mass production through digital platforms; (4) Teenagers who are fans of wayang not only have collections related to wayang, but also become ‘dalang muda’ as a form of wayang performance production. This study concludes that the art of wayang can adapt to the conditions of the times and there is also a shift in the function of religion to become an entertainment function that contains commercial practices.

The paradigm concept of Javanese’ Anak Polah Bapa Kepradhah in the story of Murwakala: Lévi-Strauss structuralism

Indonesia harbors diverse oral traditions, with a particular focus on Javanese traditions. Studies on oral traditions, especially those related to geguritan (poems), stories, and songs, often lean towards aesthetic analyses. However, there remains untapped potential for exploration, such as the exploration of local cultural elements underlying the contradictions in folklore. This article aims to elucidate these contradictions and delineate the paradigmatic concept of “anak polah bapa kepradhah” within the narrative of “Murwakala.” Conducted as a descriptive-qualitative study, this research employs Lévi-Strauss structuralism as a framework for interpreting, mapping and attributing meaning to empirical paradigms embedded in societal concepts. The objective is to address the contradictions and logical patterns inherent in society. Data for this study are derived from the observation of Javanese oral traditions related to wong sukerta. These observations are then juxtaposed with the narrative of “Murwakala,” as presented in the wayang performance of the ruwatan tradition, with a specific focus on the Javanese “anak polah bapa kepradhah” concept/value. The depth of meaning is further explored through the use of tables and diagrams. From a Lévi-Straussian perspective, it can be concluded that “Murwakala” and its associated value concept serve as logical tools capable of mapping paradigms, deciphering empirical contradictions (related to family relationships and power), and representing these dynamics in the cultural products and thoughts of Javanese society, both historically and in the contemporary context.

THE WAYANG GOLEK PERFORMANCE AS ONE OF THE VARIETY OF THE ARTISTS OF THE PUP THAT ARE AVAILABLE ON THE ISLAND OF JAVA

The Indonesian nation has diverse cultural and ethnic backgrounds. One form of cultural diversity that exists is wayang. The islands of Java and Bali have become places for the development of traditional wayang arts. The UN oversees an institution called UNESCO as an institution that focuses on issues regarding education, culture and science, which then records wayang as a work of cultural art in the international world. By giving this award, the Indonesian people should protect and preserve wayang.This study aims to examine, identify, and know the meaning of cultural traditions and symbols contained in wayang golek performances and their influence on the surrounding community and daily activities. In this study, the method used is the observation method, by collecting data from various sources of journals and the internet, while in analyzing using the phenomenological method.From the research that has been done, it is found that the wayang golek show contains teachings and good values conveyed by a dalang with his characteristics so that the messages to be conveyed can be easily accepted by the public watching the wayang performance. Wayang shows have an impact on several aspects including social, political, economic, and religious aspects.Keywords: Wayang Golek, Symbol, Value

Leadership Value in the Wayang Performance of Tripama Play Presented by KI Sunarno Duta Dipraja

Leadership Value in the Wayang Performance of Tripama Play Presented by KI Sunarno Duta Dipraja

The aesthetics of virtual wayang performances during the covid-19 pandemic

This paper discusses the aesthetics of virtual wayang performances by puppeteers. The problems studied are: (1) why puppeteers have a new tendency to perform virtual wayang; and (2) the aesthetic style of the virtual wayang performances. Data collection methods by interviews with puppeteers, literature studies about virtual wayang, and observations of wayang virtual performances by puppeteers were analyzed by aesthetic theory. The study results showed that puppeteers used digital platforms to maintain their profession's continuity and economic living conditions. The tendency of virtual wayang to give rise to an aesthetic style of digital puppets is known as aesthetics of taste, with the orientation of wayang performance to meet public tastes. The conclusion results state that the aesthetic style of the virtual wayang performance: (1) the camera as a representation of the audience's eyes; (2) puppeteers are required to be creative, innovative, and productive; (3) the audience has the freedom to determine their tastes; and (4) the importance of collaboration that must be carried out by the puppeteer.

Estetika Pertunjukan Gender Wayang secara Virtual

Gender Wayang is an old Balinese gamelan that uses a 5-tone selendro barrel. Gender Wayang in its presentation in this pandemic era has a new model so that it becomes an attraction to be discussed. Due to the Covid-19 pandemic outbreak, the change in Gender Wayang performances which are generally held in person has been changed to a virtual performance. This study aims to find out the aesthetic elements in the virtual Gender Wayang performance and the meaning contained in the virtual Gender Wayang performance. This virtual performance was carried out in an effort to treat the longing of art lovers, especially the Gender Wayang gamelan. Gamelan Gender Wayang is one of the primadonnas among the community, especially children, teenagers both from elementary school, junior high school, high school and college. The research method used is a qualitative method with data collection techniques through participant observation and interview methods. The result obtained is the aesthetics and meaning contained in the virtual Gender Wayang performance. With the virtual Gender Wayang performance, it can be used as a forum in presenting artworks in fighting the Covid-19 pandemic that we are facing together.

Form, Materiality, and Symbolism in Non-Arabic Muslim Arts: A Case Study from Indonesian Wayang Performance

The puppet theater becomes a popular form of cultural expression in the Muslim world, even though wayang performances are not considered a central part of Islamic theology. Wayang performances are seen as having a spiritual significance among Indonesian Muslims for centuries. Such puppet theater incorporates forms, styles, and elements of Islamic spirituality and traditional Javanese cultural practices into its narratives. The article pays attention to the idiosyncratic forms, elements, and meanings of contemporary wayang through the craftsman’s framework. The analysis takes into account the formulation and presentation of the wayang in contemporary Indonesian art, focusing on the creation of “Wayang Kekayon Khalīfah Paraga Umar ibn al-Khaṭṭāb.” This wayang is associated with the figure of Umar b. Khaṭṭab (d. 644). Umar is a historical figure who played a significant role in the early history of Islam and is revered for his wisdom and leadership by most Muslims. The discussion argues that the materiality of puppets in the non-Arab Muslim world not only functions as a traditional form of entertainment stimulating the sense of “fun” but also as complex semiotic experiences between a dalang (wayang puppeteer) and his audiences using signs of two-dimensional buffalo leather and its silhouettes.

Nilai Keislaman dalam Cerita Wayang Kulit dengan Lakon Babad Alas Wanamarta di Kabupaten Karanganyar

The purpose of this article is to show that wayang kulit is a vehicle for the spread of Islam in the land of Java and to show the Islamic values ​​contained in the story of wayang kulit with the Lakon Babat Alas Wanamarta. The researcher has two problem formulations, why wayang kulit is used as a vehicle for the spread of Islam in Java and what Islamic values ​​are contained in the wayang kulit story with the Lakon Babat Alas Wanamarta. This study used a descriptive qualitative method with data collection techniques through documentation and interviews. Documentation is done by viewing video recordings of wayang performances. Interviews were conducted with the puppeteers who often perform wayang performances. The result of this study is that wayang kulit became a medium for spreading Islam by Sunan Kalijaga. Sunan Kalijaga spread Islam through a cultural approach. Wayang kulit was chosen because at that time wayang kulit was something that was popular. So that the spread of Islam through wayang kulit is easily accepted by the community by being associated with the play in each wayang story. In this Lakon, one of them is the Lakon Babat Alas Wanamarta which contains Islamic values, such as ridho, istiqomah, and tawakal.

A Case Study on Behavior of Performing Art Appreciators in Public Space: Indonesian Puppet (Wayang) Performance Arts and Video Mapping

The presence of video mapping performances in Indonesia influences the behavior of appreciators in public spaces through acculturation. The propagation of Islamic teachings through wayang (puppet) shows had a fascinating impact on the history of public performances in Indonesia. Cultural acculturation can affect the behavior of public space appreciators or vice versa. This situation depends on the adaptability of appreciators with an Indonesian cultural background to changes in the format of public space performances. This change pertains to performance art incorporating innovative technology, such as wayang performances and video mapping. In order to conduct research on changes in appreciator behavior in public spaces, a descriptive-analytic method with an ethnographic and ethnological approach was required to examine Indonesian appreciators' ethnicity through wayang performances and literature studies. Then, it was compared to how the observatory video mapping performance was analyzed, such as Carl Gustav Jung's theory or Pierre Bourdieu's habitus perception, where the memory of previous inherited behavior influences current behavior or individual behavior is influenced by its social experience. This study's analysis revealed that the behavior of appreciators in public spaces, such as video mapping performances in Indonesia, which are renewable with the use of technology, is nearly similar to that of wayang performance appreciators.

Structuralism and Post-structuralism in case studies of wayang kulit purwa and Eblek interactive wayang performances

Structuralism and Post-structuralism in case studies of wayang kulit purwa and Eblek interactive wayang performances

Ruwat Murwakala ritual: transmission of educational value through the traditional performing arts and its relevance with the implementation of the concept of merdeka belajar

Besides being an expression of culture, traditional artworks carry various kinds of knowledge and values that are useful for the survival of the community. This is one of the reasons why a product of traditional artworks survives in the midst of the progress of the times. This research on the ruwatan murwakala ritual aims to; (1) find out how the transmission of educational values occurs in wayang performances; (2) Analyse the scenes in Ruwat Murwakala's story that show the process of transmitting educational values and supporting the implementation of the Merdeka Belajar idea. The method used in this research is descriptive qualitative interpretive. Data was collected through participant observation (observation), literature review and in-depth interviews. Observations were made by observing the performance directly or by looking at the recording of the performance of Ruwatan's play Murwakala. The study of library sources consisting of articles and writings related to the research subject aims to complete the research data. Triangulation of data sources and sources is used to validate the data obtained so that the validity of the data can be accounted for. The results of the research on the Ruwatan ritual of the Murwakala play show that there are findings in the form of a process of delivering character education values to the community, including curiosity; honesty and knight; respect; religion; obeying the rules; respect; fair; smart; creative; critical knights; honest; respectful; and intelligent. These values are contained in each chapter in the story of Ruwatan Murwakala, namely: the pathet nem scene (beginning), the pathet sanga scene (middle) and the pathet manyura scene (end)