Wayang Performance Research Articles

Design of Wayang Show With 360° Video (Virtual Reality) as a Media to Intoduce Teenage About Wayang Cepak Tegal

Nowadays, wayang cepak in Tegal City are increasingly rarely known by young people, especially teenagers wayang performances being rarely attended. From this study, it is known that adolescents tend to be more interested in westernized modern culture so that they are indicated to have less respect and are increasingly unfamiliar with their own existing traditional culture. The purpose of this research is to reintroduce the wayang cepak in the form of digital media which is shown to teenagers in Tegal City aged 15-21 years. The delivery of story content through Virtual Reality has the potential to provide an immersive viewing experience that can be viewed from a 360° video perspective using the Luther-Sutopo version of the Multimedia Software Development Method for the segmentation of teenagers aged 15-21 years. To find out and collect data the researchers used qualitative methods. The results of this study are expected to help re-introduce and invite teenagers to generate a sense of love for wayang cepak. As well as looking for alternative ways to watch wayang shows from a 360° perspective as a whole for Virtual Reality users. Virtual Reality is an effective promotional media that utilizes new technology to add to the audience's new experience of an environment as a whole, so that here it is hoped that the audience will enjoy the Wayang Cepak performances that contain the values of good moral teachings through various stories.

Adaptation of Sukuh Temple Reliefs in the Garudeya Wayang Performance

This paper describes the adaptation of the reliefs of Sukuh Temple in the Garudeya wayang performance. At Sukuh Temple, relief visualizing the character of Garudeya in the form of a half-human eagle was found. Garudeya figure has the urgency of teaching national values to the people of Indonesia. This character represents the spirit of the struggle to be free from slavery.The problems studied are: (1) how is the depiction of the Garudeya relief on Sukuh Temple; (2) how is the process of verbal adaptation and visual adaptation of the relief of Sukuh Temple in the form of the Garudeya wayang performance; and (3) how is the form of the Garudeya wayang performance as an amplifier of temple tourism objects and teaching of national values. This problem will be studied with the adaptation theory of Linda Hutcheon. The method used was literature study, interview and observation. In addition, applying the method of artistic creation with exploration, creation, and presentation.The results showed that first, the Garudeya relief at Sukuh Temple depicts a Garuda with open wings gripping two snakes and a Garuda in a flying position, the left foot gripping the tortoise while the right leg was gripping the Elephant. The relief of Garudeya has the meaning to release, namely the liberation of Dewi Winata from the slavery of Dewi Kadru. Second, the process of adapting the Garudeya relief into a Garudeya wayang performance was through two aspects, namely the verbal and visual aspects. Verbal adaptation was indicated from the process of preparing the wayang play script. The visual adaptation was known for the process of making wayang puppets and the presentation of the Garudeya wayang performance. Third, the form of the Garudeya wayang performance was a solid parade that is performed around the Sukuh Temple to attract tourists. The content of the philosophical values of the Garudeya story provides the teaching of national values and character for the community. Keywords : relief; Sukuh Temple; Garudeya; wayang performance; tourism; national value DOI: 10.7176/ADS/102-02 Publication date: October 31 st 2022

Casting Shadows over Malay: Palliating Voice, Palliating the Wayang

Wayang Kulit shadow puppetry has, for over one millennium, enacted both political and secular voice, for the maintenance of cultural heritage and social critical opinion. Throughout Malaysia, Wayang has mediated shifts in language ideologies and socialization. Yet, shifts in the Wayang have correlated positively with shifts in the Malay language, in light of Malaysian government efforts to palliate social voice through its control of Wayang and the Malay language and its poetics. This paper addresses the Wayang Kulit and its relevant to the Malay language, as well as its semiotic complexities during performance and in larger society, as a tool for the expansion or suppression of critical social voice. The study exposes these shifts in the Wayang, its stylizations, symbolisms, and its performativities, in the latter 20th century. These changes have aligned with cultural and language shifts, against government attempts to legitimize both pro Islamic and neoliberal ideologies. The data set includes a multi-year ethnography of the Wayang in Malaysia, and a corpus of discussions, documentations, and scripts of Wayang performances and narratives, grounded in an abduction theory methodical framework.

Malay, in the shadows

Abstract Wayang Kulit performance, the art of shadow puppetry, has long embodied and conveyed political and secular voice throughout South and Southeast Asia, significant for the maintenance of cultural heritage. Throughout Malaysia’s modern history, Wayang as a dominant medium of education has mediated shifts in language ideologies and socialization, to the extent where changes to the Wayang correlate highly with changes to the Malay language. In the 1980s, the Malaysian government sought to attack and hence curtail Wayang performance, and to obscure its lineage, claiming that the Wayang defiles Islam and Malaysia as an Islamic state. The government sought to discontinue the Wayang, or at least to alter it significantly, and to persecute its adherents. With its attempts to mobilize the economy through neoliberal politics and the adoption of new non-poetic language registers, the Malaysian government altered Malaysian vernacular, cultural practices, and ideologies. Yet, little scholarly work, particularly through an Anthropological lens, has discussed the correlations and influences to these shifts. This paper addresses the significance of Wayang Kulit to the Malay language, that is, its contiguity with standardized language and vernacular, its semiotic complexities during performance and in larger society, and its junctures with Malaysian politics. The study unearths changes in the Wayang, its stylizations, symbolisms and performativities, in the latter 20th century, where these changes have aligned with cultural and language shifts, yet which the government has legitimated as pro Islamic and neoliberal. The data set includes a multi year ethnography of the Wayang, and a corpus of discussions, documentations, and scripts of Wayang performances and narratives.

The Development of the Indonesian Culture Gunungan Design: Wayang Godhong “Smoking Violated”

This study explores the development of innovative wayang craft designs in Magelang, Central Java, Indonesia. This is necessary research because wayang functions as a medium of contextual communication between the puppeteer and an audience by transmitting the values of life through entertainment. However, it is rare to find all-night-long wayang performances currently; there is a considerable probability of this craft going extinct in the next few years. This is a research and development method. The type of research and development uses the ADDIE model. Data collection techniques were carried out through interviews, observations, and documentation of Wayang Godhong. The respondents were tobacco farmers and puppeteers in Magelang City, Central Java Province, Indonesia. The result led to the development of Wayang Godhong design which adopts the structures and shape of tobacco leaves. Despite the use of this leaf, the message “smoking is violated” is boldly written on its body. The researcher also implemented the Wayang Godhong product through a puppet show entitled “Smoking Violated” performed on youth and social activists in Magelang Regency. The message from the show is social criticism to the public of the prohibition on smoking in public places, which is still being violated. The results showed that the public accepted the Wayang Godhong performance and positively impacted public knowledge and awareness regarding the prohibition of smoking in public places.

Classical Painting of Wayang Kamasan to be UNESCO Intangible Cultural Heritage

In the past, Balinese artists have been perfecting their skills in arts as an expression of gratitude to the Higher being or as a service to the community. One of the classic painting styles that endured through time in Bali since the days when King Anak Wungsu reigned. The classic art is the painting style from Kamasan village, Klungkung, known as Lukisan Wayang Kamasan or Kamasan Shadow Puppet Painting. Kamasan puppet painting is an expression of Wayang performance, composed into a 2-dimensional painting. The method of storytelling in the form of painting developed rapidly during the reign of ancient Bali, especially by the people who lived in the Kamasan village of ??Klungkung. The steps in determining the layout of the image, the drawing process, color making, and the coloring process of the Kamasan puppet painting are still used traditionally. The Indonesia Education and Culture ministry announced the submission of the Wayang Kamasan painting to UNESCO in early February 2022. This submission is a re-submission after the Kamasan puppet painting was proposed as an Intangible Cultural Heritage in 2018 by the Indonesian Government. However, the submission of the Kamasan Wayang painting as an intangible cultural heritage in 2018 was rejected because the documents were incomplete. The purpose of the protection in this convention is for art preservation, especially, for future generations. It means that anyone can use it, not just the group to whom the recognition of ownership of the intangible cultural heritage is given.

MAKNA TEOLOGI SESAJI TRADISI RUWATAN DESA PADA MASYARAKAT JAWA DI DESA KUMENDUNG, KECAMATAN MUNCAR, KABUPATEN BANYUWANGI, JAWA TIMUR

Ruwatan Desa offerings are a hereditary tradition in Javanese culture, especially in Kumendung Muncar Village, Banyuwangi, which is held once a year in the month of Sura (Javanese calendar) around August of the Gregorian calendar. The series of implementations begins with making donations to the needy and on the peak day, residents bring offerings in the form of tumpeng and other things to the village hall, followed by a prayer together and continued by parading the tumpeng around the village, at night doing gendurenan and wayang performances, the next morning after the puppet performance ends, it is filled with Pray together and then eat a cone with grilled chicken meat and vegetables. The event is over. This implementation is also from the theological view that as a form of petition to God in his manifestation as Lord Vishnu as the protector of the world, Dewi Sri the symbol of fertility and Hyang Bawu Rekso as the ruler of the region with the aim that the residents and the area of Kumendung Village always get harmony between humans and nature, humans and their environment, humans and humans with the environment. All these things are connected with humans and nature is a unity. In addition, as a form of gratitude for the gift of God Almighty, both in the form of where God is, God Almighty and God is most gracious, which is symbolized by abundant harvests, health and prosperity. The relationship between humans, God and nature is an element that cannot be separated from each other even though in modern times like today, nature seems to be an object to strengthen and continue human life throughout the ages. This research was conducted by literature study method. Agriculture is a very risky sector, so government support is needed

IMITATING THE EMANCIPATION OF HINDU FEMALE CHARACTERS IN BALINESE WAYANG LEGENDS

The purpose of this study was to analyze the role of Hindu women based on the legends of the wayang performance. Many post-colonial Balinese Hindu women began to leave their culture. To be more empowered, they do not have to leave their culture. They are still relevant as role models, like Dewi Anjani, Srikandi, and Dewi Kunti's struggle in the legends. The issues are as follows: (1) What is the image of Dewi Anjani, Srikandi, and Dewi Kunti's struggle? What can be learned from the three Hindu female figures in the legends? All the data was collected through documentation, observation, and interviews with informants in Denpasar. Qualitative-interpretative descriptive analysis is supported by applying symbol, hegemony, and deconstruction theory. The results show that Dewi Anjani is a female character who is able to fight for her rights equal to her two brothers. Srikandi is a female character who is able to fight on par with the leader of the knights on the battlefield. Meanwhile, Dewi Kunti was able to show a firm attitude during the Pandawa conflict. The images of the three figures are role models for the reconstruction of post-colonial Balinese Hindu women in responding to the challenges of globalization.

Dharma Pawayangan: Transliteration, Translation, And Cultural Values Analysis

As time changes, the Balinese wayang (shadow puppet show) performances has undergone changes marked by the emergence of new plays. This study examines the lontar (traditional scripture) of Dharma Pawayangan through a manuscript study since the Dharma Pawayangan Lontar contains information and instructions on traditional puppetry art which can be used as the basis for aesthetic understanding of Balinese puppeteers today. To avoid being crushed by the secularization of new wayang creation, thus resulting in the retainment of its religio-magic nature. This study aims to determine the transliteration and translation of Dharma Pawayangan B text, and its cultural values. Another goal is to produce puppetry literary texts that are a source of inspiration for Balinese puppet masters. The result of this research is the Dharma Pawayangan B, transliterated into Latin characters and translated into Indonesian. This manuscript contains information on puppets, puppetry, and the aspects that must be understood by the dalang, namely kiwa tengen, ethics, taboos, equipment, theology, rituals, and punishment for violation of the rules, as well as the development of wayang in the modern era.

Inovasi dan Pembauran Genre dalam Pertunjukan Keroncong Wayang Gendut

This paper aims to discuss the forms of design and genre-mixing carried out by the Keroncong Wayang Gendut -Congwayndut-group in Surakarta, which tries to offer a state of wayang performance with a more interactive packaging. The universal evolution approach uses the analytical tool in this paper to examine the new elements offered by Congwayndut as a form of innovation in the puppet show. The research method used is qualitative with a descriptive model. The conceptual approach and research methods found that the creation and genre-mixing carried out by Congwayndut were implemented in music, stories, and performance forms. The use of keroncong's music with combos and contemporary bands is the main illustration in the show. They are still based on Ramayana and Mahabharata's epics but actualized in current phenomena in society. Congwayndut's innovative form of performance is packaged in interactive language and builds closeness to the audience. It intended so that the messages and values to be conveyed will be readily accepted and understood by the audience, whose segmentation is the younger generation.

Abur-aburan Gathutkaca: the Work of Sabet Motion of the Samberan War in the Classical Shadow Puppet Performing Arts

This article describes the artistic research work on garap sabet of Gathutkaca character in classical shadow puppet by the artists; Jaka Rianto and Andi Wicaksono. The focus of the work is the design of abur-aburan motion and Samberan war of the creative-innovative Gathutkaca character, as well as blending them into a classical shadow puppet (wayang Purwa) performance. The method of creating works was carried out from the stage of determining ideas, studies of previous works, and literature studies. After that, the concept of the work embodied by wayang dramaturgy; sambung-rapet , and greget-sahut was formulated. The process of realizing the work was carried out by searching for the exploratory motion of Gathutkaca's sabet and making a dramatic script. The performance of the work was carried out using the rules of Surakarta-style wayang performances after the exercise stage was considered to be solid. The conclusion obtained in the process of this work is that the search for creative-innovative forms of sabet movement must be carried out with exploratory and repeated. The basic rules of cepengan, tanceban, bedholan and solah elements in working on sabet classical shadow puppet cannot be abandoned in order to achieve the aesthetics of classical shadow puppet performances. Keywords: abur-aburan Gathutkaca, perang samberan, garap sabet, dramaturgi wayang DOI: 10.7176/JCSD/66-06 Publication date: September 30th 2021

CREATIVE TEAM STRATEGY MAINTAINING RATING AND SHARE IN THE OPERA VAN JAVA (OVJ) PROGRAM IN TRANS 7

ABSTRACT The development of the mass media industry in Indonesia makes a variety of quality programs, the information conveyed is a necessity to help the public in knowing information is happening around them. Therefore the information presented by the media must be true and useful for the wider community. Television stations broadcast programs with a variety of interesting formats, both in the form of drama programs, non-drama programs, and news programs. The characteristics of television can display images and sound to be the main factor and every television station has many programs with various formats, one of them is comedy program. Television ratings have a very long history, so television stations present programs that are very diverse and interesting. Especially programs with comedy formats such as one of the trans 7 television stations that present Opera Van Java. By adapting traditional forms of wayang performances that are packed in a more modern way, by bringing up stories / phenomena in the community. The aim is to find out the creative team's strategy to maintain rating and share in the opera van java program in trance 7. The qualitative research methodology with morrisan theory is to analyze the results in theory and to fully explain industry competition to influence the audience with triangulation, interview and observation techniques. The conclusion of applying the SWOT theory model is about the strengths and weaknesses of the opera van java program on the company's internal conditions and about the opportunities and threats facing the company.

WAYANG KULITSEBAGAI MEDIA DAKWAH KI ANOM SUROTO

Ki Anom Suroto, with his religious beliefs, has an influence on the wayang performances performed. One of them can be seen clearly in the song or song Pepeling and the story or play of Makutarama. Ki Anom Suroto is very concerned about communication that is easily understood by the community. Ki Anom Suroto's puppeteer style is very much influenced by the styles of Surakarta, Yogyakarta and Banyumasan. The purpose of this research is to find out the life history of Ki Anom Suroto how it can influence the play in the Ki Anom puppet show. Suroto, how da'wah colors the story or play masterminded by Ki Anom Suroto, and how is the communication made by Ki Anom Suroto in the puppet show. This study is a study using two data sources. The first data is primary data obtained from interviews, observations, and document studies that are directly related to Ki Anom Suroto's environment. The second data is secondary data obtained from books, journals or articles that support this research. The approach used in this study is the historical story approach and the communication approach of Romy L. Romodirjo, and to analyze the data using the interpretation method. The conclusion of this study is that the history of past life is very influential on the next life. The next life will be stable if you can adjust yourself through communication in accordance with the situation and conditions that are being passed.

WAYANG SEBAGAI MEDIA TRANS-EMBODIMENT DALAM PENDIDIKAN SENI DAN BUDAYA PADA ANAK

Penelitian ini membahas trans-embodiment yang terjadi dalam pendidikan anak-anak tentang seni dan budaya, khususnya tentang peran wayang. Bagaimana penubuhan yang terjadi dalam pendidikan anak-anak dengan menggunakan wayang, baik oleh guru maupun murid sebagai sebuah negosiasi trans-embodiment? Selain itu, juga mengenai bagaimana merancang sebuah tutorial yang berisi tentang menggambar wayang, sebagai salah satu media dalam membantu memperkenalkan wayang kepada anak-anak? Penelitian ini merupakan penelitian campuran, dengan kolaborasi antara kualitatif-analitik dan penelitian pengembangan, menggunakan pendekatan kualitatif analitik Merleu-Ponty tentang penubuhan dan perujudan, dan Alfred Lichtwark tentang pendidikan artistik dan estetika untuk membahas tentang trans-embodiment yang terjadi dalam pertunjukan wayang sebagai pendidikan seni budaya untuk anak, sedangkan pendekatan penelitian pengembangan digunakan untuk merancang buku langkah-langkah menggambar wayang purwa. Pengumpulan data dilakukan dengan wawancara dan studi dokumentasi. Hasil penelitian menunjukkan, bahwa trans-embodiment terjadi dalam aspek penyampaian materi, cara komunikasi, dan aspek pengetahuan yang tersampaikan. Begitu pula dengan trans-embodiment yang terjadi bagi murid, yang menekankan pada aspek komunikasi, cara penyampaian, kepercayaan diri, pengungkapan disclosure, kreativitas, dan peningkatan kemampuan berpikir kritis. Hasil tersebut mendukung adanya pembuatan buku langkah-langkah menggambar wayang yang benar sesuai dengan pakem dalam wayang purwa, sehingga trans-embodiment juga terlihat dalam upaya pelestarian wayang sebagai salah satu capaian pendidikan seni dan budaya.

The Figure of Kumbakarna in Wayang Performance: A True Knight Model in Serat Tripama by Mangkunegara IV

This article focuses on the study of the figure of Kumbakarna who became a role model for the Javanese. Kumbakarna was seen as a true knight who never broke his promise in defending the country until the end. This characteristic was implied in Serat Tripama, a traditional parchment authored by Mangkunegara IV which depicts three role models, namely Bambang Sumantri, Karna, and Kumbakarna. This article aims to describe and analyze the figure of Kumbakarna as a true knight which reflects the thoughts and values held by Mangkunegara IV. This articleused a library research with a hermeneutic approach as a tool to interpret Mangkunegara's thoughts contained within Serat Tripama . The results and discussion of this article explains that the government under Mangkunegara IV is very concerned about their administrative duties, especially in teaching by giving examples of trueknight figures who can become role models for the people and the military in Indonesia. That there is no need to have a beautiful physique to become a true knight figure aside of a strong determination to love the homeland. This is depicted bythe figure of Kumbakarna who was willing to sacrifice his life to defend his country, Alengka Kingdom. Keywords: Kumbakarna, Mangkunegara IV, Serat Tripama , True Knight, Wayang DOI: 10.7176/ADS/86-02 Publication date: October 31 st 2020

Makna Nilai Filosofi Wayang Kulit Sebagai Media Dakwah

When the teachings of Islam were spread on the island of Java, the majority of people who still embraced Hinduism had a fondness in watching the wayang performances. Historically, the wali songo using cultural approach and plays a major role in the development of wayang in Indonesia. In addition to using wayang as a medium of propaganda, also through various forms of other cultural acculturation for example through the creation of Javanese Islamic songs, gamelan, and Islamic story. In wayang kulit performances bring a lot of influence for the Java community because it contains many philosophy of life and values of the noble. The wayang culture, which continues to evolve from time to time, is also a medium of information, da'wah, education, entertainment, philosophical understanding, as well as entertainment, as well as the philosophical value embodied in puppet always invites society to do good and avoid crime.

Sunardi KONSEP DASAR PERTUNJUKAN WAYANG SINEMA LAKON DEWA RUCI

This paper aims to describe the basic concepts of wayang cinema performance Dewa Ruci play as an alternativeto the development of Indonesian puppets. Wayang Cinema is an innovative wayang performance in awide-screen film. The problems examined are: (1) what lies behind the creation of wayang cinema Dewa Ruciplay; and (2) what is the basic concept and structure of wayang cinema performance Dewa Ruci play. Thestudy was conducted by applying the methods of art creation, namely exploration, design, creation, andpresentation. The results showed that: first, the creation of wayang cinema Dewa Ruci play was motivated bythe decreasing of younger generation’s interest in wayang. The wayang life is marginalized, responding to thechallenges of the era namely the industrial era 4.0., And as a continuation of puppet show experiments.Secondly, the basic concept of wayang cinema Dewa Ruci play is to emphasize the work on the play and thepresence of the song as a driver of plot, characterization, and strengthening the atmosphere, in addition tobeing packaged in the form of widescreen films. Third, the structure of wayang cinema Dewa Ruci playemphasizes the portrayal of the Bima figure in achieving tirta pawitra with a new style.

SIMPLIFIED WAYANG PERFORMANCE AS A MEDIUM OF TEACHING OF INDONESIAN LESSON FOR FOREIGN SPEAKER (BIPA) IN ISLAMIC UNIVERSITY (PTKI) IN FACING INDUSTRY 4.0 REVOLUTION ERA

This paper is aimed to analyze how wayang can be used as a medium of teaching BIPA in PTKI in facing industry 4.0 revolution era. Wayang (shadow puppet) as learning media of BIPA can be applied in industry 4.0 revolution era in advanced level by using a simplified performance of wayang as a learning media. The method in this research was descriptive analytic method. The techniques of collecting the data included documentary techniques and content analysis. The data were analysed, described, and concluded. The techniques of analysis data used Literature Based Thematic (LBT) and interactive model. LBT, a model of literature appreciation, is applied in learning the simplified wayang performance. This model will lead students to learn literature as a way of life. Students watch wayang performance in a film together in Indonesian language, then students discuss the good things or character education that need to be implemented or not in life, students are also asked to compare the characters each other, after that the students write the results of the discussion in Indonesian language and they will have a peer-review activity to evaluate their work.

Ethnomathematics in Traditional Wayang Performance in Surakarta as a Source of Mathematics Learning in Junior High School

Mathematics is used in all aspects of life and emphasizes the activities of reasoning. Mathematics had related to our daily activities and can identify the cultural point of view. Ethnomathematics include mathematical ideas develop by cultures. The aim of this research is ethnomathematics practiced by the community especially in traditional wayang art in Surakarta that can be used as a source of learning mathematics in junior high school. This research used descriptive qualitative research whichdata collection techniques by observation, interviews, and documentation. Data validity used triangulation. The research procedure includes several stages, namely data collection, data selection, data analysis, drawing conclusions, and preparation of research reports. The result of the research showed that traditional wayang art performance in Surakarta contained ethnomathematics can be used as a source of learning mathematics in junior high school such as 1) modulo 9, 2) geometry of space, 3) even odd number, 4) rectangle, and 5) circle.

Ethnomathematics in Traditional Wayang Performance in Surakarta as a Source of Mathematics Learning in Junior High School

Mathematics is used in all aspects of life and emphasizes the activities of reasoning. Mathematics had related to our daily activities and can identify the cultural point of view. Ethnomathematics include mathematical ideas develop by cultures. The aim of this research is ethnomathematics practiced by the community especially in traditional wayang art in Surakarta that can be used as a source of learning mathematics in junior high school. This research used descriptive qualitative research whichdata collection techniques by observation, interviews, and documentation. Data validity used triangulation. The research procedure includes several stages, namely data collection, data selection, data analysis, drawing conclusions, and preparation of research reports. The result of the research showed that traditional wayang art performance in Surakarta contained ethnomathematics can be used as a source of learning mathematics in junior high school such as 1) modulo 9, 2) geometry of space, 3) even odd number, 4) rectangle, and 5) circle.