Wayang Story Research Articles

ENVIRONMENT PRESERVING CHARACTER ON WAYANG STORY DEWA RUCI: AN ECOLOGICAL LITERATURE STUDY

<p><em>Wayang is one of Javanese performing arts which has a greatfull values in Javanese society. Wayang has two dimensions; as a kind of Javanese performing art as well as Javanese literature in this context is script of wayang story. The focus of the research was to describe and explain the ecological concept on wayang story in Central Java and Yogyakarta Special Region. This research is qualitative descriptive which using ethnographic approach. Data were collected by using domain analysis techniques, taxonomic analysis, compositional analysis, and theme analysis. Data validation used extra participation technique, perseverance observation, triangulation, detailed discussion, and auditing. The research found that the ecological concept in wayang story can be found in some use term and the motto which relating to the term of environment conservation. Term about the environment preservation is found in the narration of the story, dialog of wayang characters, also find some mottos related to natural conservation effort. Referring to the results of this research, it can be assumed that the ecological concept in wayang story also functions as reminders of natural conservation and preservation for the society in Central Java and Yogyakarta Special Region.</em><em></em></p>

REVITALIZATION OF DRUPADI’S FEMINISM IN THE NOVEL OF DRUPADI PEREMPUAN POLIANDRIS BY SENA GUMIRA AJIDARMA

Drupadi is one of the female characters who have important roles and positions in the epic Mahabharata or wayang purwa in Java. In the Indian version Drupadi married five Pandavas. However, in the Javanese version she was only married to Yudhisthira. This paper discuss Drupadi Perempuan Poliandris novel as one of the works which is the reception and transformation of Mahabharata version of India and Java, as a form of reception and transformation of Mahabharata version of India and Java, its existence is considered as a form of revitalization of the classic literary works, especially the character Drupadi using the perspective of feminist literary criticism. The results show that the Drupadi character depicted in the novel tends to return the identity of Drupadi in the Mahabharata of India as the wife of Pandawas after they won the competition held by King Drupada. This is in contrast to Drupadi in the Javanese wayang story depicting Drupadi as the wife Yudhisthira as the oldest Pandawa. In this novel Drupadi figure is also described as a woman who not only has perfect beauty, but also very critical of her destiny that must be lived.

Gandari Menjelaga Pertunjukan Drama Tari Wayang Kontemporer

Gandari Menjelaga is a dance drama taken from wayang story, that is Epos Mahabarata. This is a dance composition telling about a female character named Gandari, the daughter of King Prabu Subala of Gandara’s Kingdom. She should sacrifice her beauty by covering her eyes with white cloth as her loyalty to her fate. The concept of this work describes a self-denial of a woman toward her life. The combination of traditional and contemporary dance becomes the main element in producing the dance drama. The dramatic structure is arranged into four scenes whose settings are in the Gandara Kingdom Gate, in Gandara Palace, and in Dewi Gandari’s Courtyard. This dance drama is accompanied by gamelan composition Keywords: Dance Drama, Gandari Menjelaga, Wayang Dance

Digital Life Society Education from Punakawan History

This study discusses the technique of diluting the tense atmosphere in society in one case of social life. The focus of this research is traditional strategies that are still used to reduce tension in the social life of the community. The purpose of this study is to dismantle cultural heritage that is very valuable but often less understood by other people due to the use of different language and cultural codes. This study uses a qualitative research paradigm procedure. The results of the study showed that the technique of reducing tension by using the characters in the wayang stories was considered very effective. The role of the clownman becomes a figure that attracts attention. The technique used is the character, physically it must be imperfect which means inviting a smile and not in a simple social position but having a very strong influence. These characters are also very familiar with the background of the social life of the community in everyday life. This strategy is in the background of the attitude and behavior of Javanese people who do have two poles. On the one hand, Javanese people have a strong attitude, but on the other hand, they also have a very loose attitude. Javanese people use clowns which are certain characters, which are considered as strategic characters to reduce the situation of very high tension. Techniques to reduce the peak tension situation do need special expertise. This condition is indeed not easy because it has to be in all walks of life through the right language of communication.

Strategi Penguatan Kreativitas Seniman Ketoprak DIY dari Tahun 1999 hingga Tahun 2009

Cultural identity in ketoprak performance should depart from all cultural products themselves. Strengthening the form of ketoprak performance in the middle of the era becomes important for artists in building their creativity. The strategy was designed so that people assume that ketoprak was theirs and able to be their representation. Based on the data collected, the number of groups, performances, and ketoprak artists in DIY were as follows. The number of groups in four districts and one municipality were 497 groups. The number of ketoprak showed from 1999-2009 was 145 times. The highest number of ketoprak groups was in Kulonprogo Regency, followed by Gunungkidul Regency, Bantul Regency, Sleman Regency, and finally the Municipality. The year 2005 was a milestone in the development of ketoprak to the present. The successful renewal of ketoprak shows can be seen by the number of shows which are 113 times over five years (from 2005 to 2009), which means that there were twenty ketoprak shows every year, and every month there were two ketoprak shows. The condition was triggered by several factors as follows. First, local government awareness to determined the icon of DIY tourism as part of globalization. Second, the awareness of artists to package performances that match the demands of the times. Third, awareness of the artistic layout strategy using symbolic and supported by Tobong ketoprak tricks. Fourthly, the influence of ketoprak humor and ketoprak R&D which still uses the style of play and jokes, causes the ketoprak show to be no longer a mere political tool, but a tool and place of friendship for the citizens. Fifth, the story was no longer based on myths, chronicles and legends, but penetrated the wayang story but with a more contextual interpretation of the story with the present. By seeing the many activities of ketoprak performances in DIY it can be said if ketoprak has become an icon of culture and tourism in DIY. Ketoprak performances tread its survival was no longer a traditional art, but has become a form of modernist art. Over the past ten years, the ketoprak show has experienced quite improved conditions. The vigilance of artists and audiences must be constantly reminded. The trick was to continuing to enhance the role of government as a protector of arts and culture. The ketoprak festival must continuing to be held continuously. Improving the skills of ketoprak artists must continuing to be sharpened. Of course the friendship between Ketoprak artists must continuing to be encouraged. Government’s appreciation for ketoprak artists must be increased.Keywords: identity; ketoprak; strengthening; globalization

GAMBAR WAYANG KARYA SURIPNO DARI PERSPEKTIF RASA DALAM KEBUDAYAAN JAWA

<p align="center"><strong><em>ABSTRACT</em></strong></p><p align="center"> </p><p><em>Wayang purwa is a Javanese art and culture product. The existence of wayang purwa in Javanese culture is very influential on the life of Javanese society. Variants of wayang that can be found today is one of them is a puppet image made by Suripno. The process of creating Suripno puppet shapes also can not be separated from the experience and knowledge of Suripno as the maker. The method used in this study is an ethnographic method that emphasizes the observation of behavior, interviews and artifacts.</em></p><p><em>Suripno's wayang pictures are an expression of his inward appreciation to the characters, mythology and the wayang story. Viewed from the perspective of taste in the Javanese culture aesthetics Suripno puppet pictures are a non-sensory aesthetic based on sense of appreciation, protection, tranquility, evenness and irony.</em></p><p><em> </em></p><p><em>Keywords: Suripno, puppet image, aesthetics, taste, Javanese culture.</em></p>

Ecological Concept of Wayang Stories and the Relation with Natural Conservation in Javanese Society

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TOGOG & SEMAR: DEHUMANIZATION, ANTI-HUMAN, POST-HUMAN

The core of Wayang stories (Mahabharata, Bharatayuda, Ramayana) is the reflection of human that is always continuously in crisis and emergency situations and conditions. Tragic. Wayang stories raise humanity problems so that the existences of human conception experience the perpetuity of dehumanization, existential instability and ambiguous. The killing of the essence of the human existence purpose on earth. It is an issue fundamentally of anti-human.Shadow play perspective does not rest on human understanding or Knight (Pandawa, Kurawa, Rama, Giant), the heaven God (Bathara Guru), and/or Prabu Khresna, incarnation of Wisnhu God. Wayang stories evoke Togog and Semar angle. Liyan. Grassroots. The general public. Amorphous: No Man is not a knight instead of a brahmana is not god instead of giant.Arises a question that is closely related to the presence of Togog and Semar. Why do shadow play stories present the figure of the them, while the authentic story of the Mahabharata and Ramayana India version does not exist at all? Are Togog and Semar truly actualization of post-human aesthetic and post-human anthropology ideas?The substance of this writing ask us to discuss regarding the idea of Togog and Semar in shadow play into the realm of post-human discourse as a result of dehumanization signs in the frame of shadow play stories. The main focus of the discussion focused on the position of Togog and Semar as the figure as linuwih or great beyond human (knight) and god. Study restriction on the context of Purwa Java Gagrak Jogja and Solo wayang; similarly in East Java, Sunda and Bali, there are also those two figures.

Moens’written transmission of dalang lore

Much of the storytelling in Java is the profession of the puppeteers (dalang; also spelled dhalang) who perform and direct shadow theatre plays (wayang). They improvise their stories in the context which their performance requires. Unless commissioned to do so by a patron, it is very unusual for a dalang to sit down and actually write out a story (lakon). In the early decades of the twentieth century in the area of Yogyakarta, a kind of storytelling mini-industry arose at the instigation of some western scholarly patrons and laymen interested in Javanese popular culture. One such patron was Ir. J.L. Moens. He encouraged dalangs to write down folk tales and, as they were dalangs, they clothed these in the wayang idiom. After Moens’ death in 1954, his unpublished collection of wayang stories was dispersed. In 1964 one part found its way into the Leiden University Library. The topics discussed are: how the Collectie Moens originated and what its purpose was; who its authors were; which tradition they acknowledged; and the relationship between the Collectie Moens and the court collections of Surakarta and Yogyakarta.

PEMBELAJARAN MENGGUNAKAN MEDIA SASTRA TRADISIONAL DALAM MENGEMBANGKAN NILAI PERSONAL ANAK USIA DINI

The aim of this study was to understand the characteristic of learning plans, learning activities, and learning implications of using traditional literatures as learning media in developing personal values of kindergarten chidren at Cahaya Ananda Kindergarten in Mataram. Personal values purposed in this study were: emotional value, intelegency, imagination, sosial value, ethics, and religious value. Traditional literatures purposed in this study were: mythos, legends, fabels, folklores, folksongs, and wayang stories told generations after generations around children subjected to this study. This study was an ex-post facto descriptive quantitative study. From this study we found that the characteristic of Daily Learning Plans used in subject kindergarten has been appropriate with national Daily Learning Plans now used. Environment oriented prior-to-play learning process was integrated in outside-class initial activities. Teachers have included traditional literatures in learning plans and learning process and have shown to increase children’s personal values. At the end of learning process children have shown increase in: emotional value, intelectuality, imagination, empathy, ethics, and religiousity. Keywords: learning media, traditional literatures, personal values

Wayang dan Nilai-nilai Etis: Sebuah Gambaran Sikap Hidup Orang Jawa

The Javanese wayang performance reflects some ethical values that express the attitudes and norms of the Javanese people. The wayang stories bring into focus some elements of the culture, such as customs, arts, way of life, mysticism, and religion. The characters of the wayang performance depict some ways of life and mind-sets of the Javanese of an understanding of the final destination of life,sangkan paraning dumadi, which is a longing to be united with God at the end of their life. Wayang performance is a high form of Javanese culture that needs to be preserved to sustain multiculturalism in Indonesia.

HUBUNGAN INTERTEKS LAKON BANJARAN KUNTHI KARYA PURBO ASMORO DENGAN SUMBER CERITA WAYANG

This paper aims to discover the intertextual relationship between the story Banjaran Kunthi and other basic stories which already existed beforehand, and also with a number of classical shadow puppet (wayang purwa) story sources, based on an intertextual theory in a literary study. The results of the research show that banjaran is a form of wayang story which tells about the life of a particular character in a single performance. The ideas, events, characterization, and composition of scenes which make up a banjaran story are the result of a transformation of a series of particular wayang stories, either directly or through a basic story which already existed beforehand. To a certain extent, the scenes in a banjaran story show no coherence with a number of the basic stories which are adopted and the various episodes contained in the series of wayang stories.Keywords: Banjaran Kunthi, story, intertextual relationship.

Wayang Hip Hop: Java’s Oldest Performance Tradition Meets Global Youth Culture

Wayang Hip Hop is a group led by dalang Ki Catur “Benyek” Kuncoro that combines Javanese wayang kulit conventions and hip hop music. This article traces the history of the group in relation to key developments in wayang kontemporer , while exploring controversies in its reception. Wayang Hip Hop is analyzed as an important new version of wayang that has garnered substantial attention from young spectators. Five reasons for the appeal of the performance are identified: (1) its complex musical intersections, (2) the radical adaptation of classical wayang stories to address contemporary problems, (3) the extension of the conventions of the gara-gara comic interlude into a full performance, (4) the adaption of Javanese wisdom to new settings, and (5) the adaptability of the production, which can has been presented in very diverse contexts.

A Wrinkle in Time: The Shadow Puppet Theatre of Banyumas (West Central Java)

This article is about a wrinkle in time, what the writer Madeleine L'Engle whimsically calls a tesseract, when the space-time continuum seems to fold up on itself, bringing together alternate times and places. Specifically, it is about a wrinkle in the flow of dramatic time during performance of Javanese shadow puppet theatre, or wayang kulit. This wrinkle brings about a peculiarly sustained moment of timelessness squarely in the middle of an all-night wayang story. It is a part of the evening's performance in which dramatic time is disrupted and clowns make their appearance to entertain, with songs and general tomfoolery, both the audience and characters of the story. This part of the wayang performance is known as gara-gara, a term that is common coin in both the Javanese and Indonesian languages and widely used to describe conditions of mayhem, uproar, confusion, and general unhappiness. In Central Javanese wayang kulit, the term gara-gara has even greater implications and refers to a specific dramatic phenomenon in the performance. Brought about through a crisis in the narrative, gara-gara represents an upheaval of the wayang cosmos-a retreat into

Cerita Tukang Gamal Ki Dudah Jinda Lara Ning Hati; A condensed wayang story from Jakarta

Cerita Tukang Gamal Ki Dudah Jinda Lara Ning Hati; A condensed wayang story from Jakarta

From the old Mahabharata - to the new Ramayana-order

Some people not only live, but also die and kill by myths. So the well-known Darul Islam leader S. M. Kartosoewirjo wrote in a secret note to President Soekarno in 1951, prophesying entirely from the myth of a Javanese version of the Mahabharata epic, that a Perang Brata Juda Djaja Binangun was imminent. This conflict would lead to a confrontation with Communism ? to which the expression Lautan Merah alluded ? and world revolution.1 The Javanese santri who was to advocate and lead the jihad or holy war in defence of an Islamic Indonesian state was writing to the Javanese ab angari here in terms which both understood perfectly well. For it was precisely this wayang story that was usually staged as a bersih desa rite or a ngruwat ceremony for purposes of purification or the exorcism of all evil and misfortune that had ever struck or