scholarly journals CONTEMPORARY WAYANG KULIT PERFORMANCE: A CRISIS IN JAVANESE CULTURE?

2017 ◽  
Vol 3 (2) ◽  
pp. 144
Author(s):  
Yosep Bambang Margono S
Keyword(s):  
Traditional Art ◽  
Puppet Theater ◽  
Main Factors ◽  
Moral Teachings ◽  
Wayang Kulit ◽  
Shadow Theater

Wayang kulit or shadow puppet theater performance has been greatly changing. Changes occur in many aspects such as in terms of the duration or length of the peliormance, its structure, the number of dalang who performs it,as well as the number of female singers (sindhen or waranggana) who accompany the dalang. Consequently, now wayang kulit performance is seen more as tontonan (entertainment) than as tuntunan (moral teachings). One of the main factors of this big change is the intrusion of western culture into Indonesia in general and Java in particular. This results in the reluctance of the young, especially, in watching this form of traditional art. Therefore, the changers) in the performance of wayang kulit or shadow theater is one of the efforts to make thisform of traditional art survive.

scholarly journals Ragam Sulukan Wayang Kulit Purwa Gaya Yogyakarta: Studi Kasus Timbul Hadiprayitno, Hadi Sugito, dan Suparman

2013 ◽  
Vol 14 (1) ◽  
Author(s):  
Sudarko
Keyword(s):  
Comparative Approach ◽  
Community Life ◽  
Puppet Theater ◽  
Main Factors ◽  
Similarities And Differences ◽  
The Difference ◽  
Wayang Kulit ◽  
Relationship Of ◽  
The Relationship

ABSTRAK Penelitian ini bertujuan untuk mencari penjelasan tentang ragam sulukan wayang kulit purwa gaya Yogyakarta versi Timbul Hadi Prayitno, Hadi Sugito, dan Suparman. Penjelasan itu didapat dengan jalan mencari persamaan dan perbedaan sulukan tiga dalang itu. dalam mencari persamaan dan perbedaan sulukan tiga dalang tersebut. Dalam mencari sebab-sebab terjadinya perbedaan sulukan digunakan landasan pemikiran Koentjaraningrat mengatakan bahwa segala bentuk perubahan yang terjadi dalam tata kehidupan masyarakat di antaranya disebabkan oleh tiga faktor pokok yakni: (1) ketidakpuasan terhadap hasil yang telah ada, (2) kemampuan di dalam bidangnya, dan (3) keinginan mendapatkan imbalan. Berdasarkan penelitian dapat disimpulkan bahwa persamaan sulukan tiga dalang terletak pada pathet, jenis, fungsi, hubungan cakepan dengan lagu, hubungan gendhing dengan sulukan. Sementara itu perbedaan sulukan terletak pada: (1) jenis lagon, suluk, dan kawin terletak pada wilet. (2) Jenis ada-ada yakni perbedaan pada wilet dan cakepan dan letak pada lagu pokok. Kata kunci: ragam, sulukan, Yogyakarta.   ABSTRACT The Various Mood Song of Yogyakarta Shadow Puppet Theater: A Case Study on Timbul Hadiprayitno, Hadi Sugito, dan Suparman’s Work. This paper is intended to look for the explanations about the various kinds of puppet sulukan (mood song) in Yogyakarta style especially sulukan of Timbul Hadiprayitno, Hadi Sugito, and Suparman. The explanation was obtained by seeking similarities and differences of the three puppeteer’s sulukan. In order to search for similarities and differences of sulukan, the comparative approach was used. Moreover, in searching for the causes of differences of sulukan, the theoritical framework by Koentjaraningrat was used. It says that any changes happened in the governance of community life of which they are caused by three main factors, namely: (1) dissatisfaction to the existing results, (2) the capabilities in one’s fi eld, and (3) the desire to get rewards. The similarities to the three puppeteers’ sulukan lie on pathet, type, function, cakepan relationship with the song, and the relationship of gendhing with sulukan. Meanwhile, the differences of the three puppeteer’s sulukan are on: (1) the type of lagon, suluk, and kawin which lies in wilet. (2) the type of ada-ada, namely the difference lies in wilet and cakepan and the difference lies in the basic song, wilet, and cakepan. Keywords: mood song, pupputry, wayang

Javanese Shadow Theater: Movement and Characterization in Ngayogyakarta Wayang Kulit

1986 ◽  
Vol 30 (1) ◽  
pp. 182
Author(s):  
Martin Hatch ◽  
Roger Long
Keyword(s):  
Wayang Kulit ◽  
Shadow Theater

scholarly journals Pathêt: di Atas Kertas dan di Atas Panggung Wayang Kulit dalam Perspektif Teori Praktik

2013 ◽  
Vol 10 (2) ◽  
Author(s):  
Wisma Nugraha Christianto ◽  
Timbul Haryono ◽  
G. R. Lono L. Simatupang ◽  
Soetarno
Keyword(s):  
Performance Studies ◽  
Social Dynamics ◽  
Social Reality ◽  
Problem Solution ◽  
Puppet Theater ◽  
And Performance ◽  
High Level ◽  
Wayang Kulit ◽  
Symbolic Formation ◽  
Practical Level

Pathêt: on the Paper and on the Stage of Shadow Puppet Theater in Practice Theory Perspectif. Researchesabout karawitan focusing on pathêt has given conceptual result which repairs and clarifi es the result of previousresearches, with different paradigms. Some are even repetitive. On the other hand, in the practical level and socialdevelopment, some changes and dynamic art performing paradigm have changed. If the researches and the researchparadigms on this matter cannot accommodate the changes, the result will be static. There have been some pathêtresearches that inspired a critical development of karawitan and performance studies. The result of the researchesimplied a temporal context, demanding revisiting on the temporary context and its relation to non-theoretical matter,partial, practicality, and social reality. A scientifi c construction based on human activity as a practice is neededto construct scientifi c atmosphere to balance social dynamics, performance, and the harmony of gending karawitanrelated to the utilization of pathêt as a part of coherent structure. Social reality of wayang kulit stage is close to theaesthetic and art feel towards karawitan music. Social structure and performance structure in the present time do notalways posses linier relation to the symbolic structure and past aesthetic. Symbolic and aesthetic constructs have theability of symbolic formation and high level of musical appreciation. Therefore, Pierre Bourdieu’s practical critiqueserves as an alternative encouragement reacting to critical pretension towards problem solution and reception ofpathêt in the conceptual and practical level

scholarly journals WAYANG KULIT MANUSIA ANTARA MITOS DAN KENYATAAN

CORAK ◽  
2012 ◽  
Vol 1 (1) ◽  
Author(s):  
Otok Herum Marwoto
Keyword(s):  
Human Skin ◽  
Local People ◽  
Traditional Art ◽  
Remote Location ◽  
Culture Heritage ◽  
Wayang Kulit

A religious traditional art in society is related to myth which can be categorized intofolktale. This tradition has been often become one in the Javanese mind and influential ingiving direction to their lives. Concerning with myth is inseparable from people’s believed. Thepeople believe which is appearing is usually established on the basis of a tale or story, which isdescendant from the local people and unwritten but believed by the society so that it becomestradition and culture encouragement. One of Indonesian ancestors’ heritages is leather puppetwhich can be enjoyed by us until now, although the form and the development conform to thedevelopment of the present modern world.Myth of the leather puppet in Javanese people themselves has been an icon, becausethe leather puppet it selves becomes myth which unified with tradition as well as Javanesepeople culture. So, other myth follows the leather puppet myth. One of the existing myths insociety are the myth’s appearances of human’s skin puppet, mainly a traditional art of leatherpuppet the material of which is believed to be created from human’s skin.Kedakan village located in the slope of Merbabu valley which is remote and far fromthe city. Because of its remote location, this place leave culture heritage of the preservedancestor’s tradition, such as human’s skin puppet. The appearing myth in the human skinpuppet is that of believed that the puppet is created from human’s skin, therefore, the puppetis considered holy and highly respected. The sacredness of the puppet appears, since manymisterious and illogical things happened related to the sacred puppet frequently. The mythwhich are still being preserved enables this leather puppet art in the remote village ever lastingand the existence is still being nurtured.Key words: Leather Puppet, Human Skin, and Myth

WAYANG KULIT MANUSIA ANTARA MITOS DAN KENYATAAN

CORAK ◽  
2013 ◽  
Author(s):  
Otok Herum Marwoto
Keyword(s):  
Key Words ◽  
Human Skin ◽  
Local People ◽  
Modern World ◽  
Traditional Art ◽  
Remote Location ◽  
The People ◽  
Culture Heritage ◽  
Wayang Kulit ◽  
The City

A religious traditional art in society is related to myth which can be categorized into folktale. This tradition has been often become one in the Javanese mind and influential in giving direction to their lives. Concerning with myth is inseparable from people’s believed. The people believe which is appearing is usually established on the basis of a tale or story, which is descendant from the local people and unwritten but believed by the society so that it becomes tradition and culture encouragement. One of Indonesian ancestors’ heritages is leather puppet which can be enjoyed by us until now, although the form and the development conform to the development of the present modern world. Myth of the leather puppet in Javanese people themselves has been an icon, because the leather puppet it selves becomes myth which unified with tradition as well as Javanese people culture. So, other myth follows the leather puppet myth. One of the existing myths in society are the myth’s appearances of human’s skin puppet, mainly a traditional art of leather puppet the material of which is believed to be created from human’s skin. Kedakan village located in the slope of Merbabu valley which is remote and far from the city. Because of its remote location, this place leave culture heritage of the preserved ancestor’s tradition, such as human’s skin puppet. The appearing myth in the human skin puppet is that of believed that the puppet is created from human’s skin, therefore, the puppet is considered holy and highly respected. The sacredness of the puppet appears, since many misterious and illogical things happened related to the sacred puppet frequently. The myth which are still being preserved enables this leather puppet art in the remote village ever lasting and the existence is still being nurtured. Key words: Leather Puppet, Human Skin, and Myth

scholarly journals MARGINALISASI GAMELAN BATEL DALAM SENI PERTUNJUKAN WAYANG KULIT DI DESA SIBANGGEDE, KABUPATEN BADUNG

2017 ◽  
Vol 17 (1) ◽  
pp. 8-12
Author(s):  
I Nyoman Surianta
Keyword(s):  
External Factors ◽  
Internal Factors ◽  
Traditional Art ◽  
Reconstruction Effort ◽  
Two Factors ◽  
Revitalization Effort ◽  
Internal And External Factors ◽  
Traditional Arts ◽  
Wayang Kulit ◽  
The Impact

The marginalization of the Gamelan Batel in Sibanggede Village can be observed in the form of the decrease of the traditional art values in the society, the displacement of traditional arts, the seculariza- tion of the traditional art, the narrowing of the traditional art performances, the hegemony of the modern art to that of the traditional one. Second, there are two factors that cause the Gamelan Batel in Sibanggede Village to be marginalized, namely, internal and external factors. The internal factors include lack of talent, lack of public interest, lack of open attitude, lack of funding from the govern- ment. The external factors are economics, technology and information, the function shift of the tradi- tional gamelan. Third, the impact of the marginalization of the Gamelan Batel in Sibanggede Village is in the form of the failure to form regeneration, failure of reconstruction effort, failure of revitalization effort.

scholarly journals DESIGN PROMOTION MEDIA FOR REOG PONOROGO WITH GRAPHIC MOTION OF WAYANG KULIT

2020 ◽  
Vol 1 (1) ◽  
pp. 25-37
Author(s):  
Gheraldi Waskito Ajiprabowo ◽  
Handriyotopo Handriyotopo
Keyword(s):  
Cultural Heritage ◽  
Motion Graphics ◽  
Traditional Art ◽  
The Public ◽  
Younger Generation ◽  
Cultural Competition ◽  
The Right ◽  
Wayang Kulit ◽  
Motion Graphic

Reog Ponorogo art is an Indonesian cultural heritage that must be preserved in the mid of current cultural competition nowadays. One of the ways to preserve Reog art is by introducing it to the wider community, especially the younger generation. The purpose of this design is to produce motion graphic media to introduce Reog Ponorogo traditional art. This design uses the 5W+1H approach, with the following stages: 1) reviewing the problems; 2) developing with the relevant questions; 3) developing the answers of those questions; 4) making the right solution. The result of this study shows that the design of Reog Ponorogo motion graphics can be the right media to provide information about Reog art to the public, especially millennial youth. This motion graphic media is quite comprehensive, because it is completed with supporting media such as posters, print ads, merchandise, and Instagram.

scholarly journals Performance Art as an Instrument of Spiritual Contemplation: The Case of the Malay Wayang Kulit (Shadow Play)

ICR Journal ◽  
2015 ◽  
Vol 6 (3) ◽  
pp. 371-387
Author(s):  
Tengku Ahmad Hazri
Keyword(s):  
Performance Art ◽  
Religious Tradition ◽  
Intercultural Dialogue ◽  
Traditional Art ◽  
Art Forms ◽  
Shadow Play ◽  
Wayang Kulit

This article offers an interpretation of the wayang kulit (Malay shadow play) as a type of traditional art, in which the art forms are conceived within the broader cosmology derived from religious tradition. To this end, it focuses on three aspects of the play, namely, the rituals, mythology and symbolism in the setting to uncover their meanings and how these relate to the tradition in which it was conceived. As the play predates Islam and was immersed in animistic and Hindu-Buddhist milieu, it underwent reinterpretation to accommodate the coming of Islam and in fact was utilised to convey Islamic message by building on the people’s pre-Islamic beliefs, thereby offering an instance of intercultural dialogue through art.  

scholarly journals PENGUATAN KARAKTER REMAJA MENGGUNAKAN MEDIA WAYANG CAKRIK BATIK

2021 ◽  
Vol 10 (1) ◽  
pp. 82-93
Author(s):  
Muhammad Bayu Widagdo ◽  
Yanuar Luqman
Keyword(s):  
The Other ◽  
Reference Object ◽  
Traditional Art ◽  
Visual Communication Design ◽  
Communication Design ◽  
Art Works ◽  
Main Target ◽  
Descriptive Approach ◽  
Quantitative Descriptive ◽  
Wayang Kulit

The popularity of puppets and batik in the eyes of teenagers, especially Javanese people, is already inferior to fictional Hollywood superhero figures such as Hulk, Superman, Batman, Ironman, Spiderman, and other Avenger. On the other hand, we actually have a wealth of traditional art forms that are very rich in philosophical values and unmatched artistic techniques. However, nowadays, youth's pride in the nation's art works seems fragile and easily outdated, being replaced by an external art culture that is full of modernity and relatively superficial in value. The redesign of the wayang cakrik batik from the wayang kulit reference object is an effort to strengthen the national identity of the youth, while at the same time offering a solution so that the youth will love and be proud of the art of their ancestral heritage. This survey research with a quantitative descriptive approach seeks to evaluate and capture the responses of adolescents as the main target audience regarding the redesign of this batik cakrik puppet so that it fosters the enthusiasm of the teenagers. As a result, the teenagers received well the works of wayang cakrik batik from various aspects that were important to observe, namely mainly with the visual communication design approach. A process that is no less important after this research is the development and refinement of the redesign of the batik cakrik wayang by considering the audience's response.

scholarly journals Potehi Puppet (布袋戲) in Java

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Hirwan Kuardhani
Keyword(s):  
Brick Wall ◽  
Chinese Community ◽  
Knock Down ◽  
Puppet Theater ◽  
Puppet Theatre ◽  
Wayang Kulit

AbstractPotehi (布袋戏) puppet theater in Java is called as Chinese puppet and originated from Fujian (福建) and Guangdong (广东) Province. Chinese puppets that were allegedly meant here is Potehi because the forms of other kinds of puppet theater from China was not discovered the traces. Leather puppet, such as Purwa, or string puppet (marionette), or even Rod puppet is not recognized by the Javanese people, most of them are only familiar with Potehi Chinese puppet. This is confirmed by the data that most Chinese emigrants who came to Java is the Hokkien (Fujian) who owned Potehi puppet theater. Some of Potehi playhouse stage are in the form of permanent building of a brick wall that has been decorated with images of deities or knock -down building which is similar to ronda substations that can be assembled. When Potehi stage is used for shows in pagoda, it will be included in the playhouse stage. It is different if the shows take place outside the pagoda, such as in malls, galleries, churches, festivals and so on, then it will be without the playhouse stage. Potehi stage shaped like a castle building with division of imaginary spaces. The upper part is the sky or deities’ palace, and the bottom is the human castle. It can also be interpreted as two natures; macrocosm and microcosm. The Sky Palace keep supervising the administration of human castles that have been mandated to regulate human. General grip of Potehi Puppet Theatre in Java includes: material story and a common way of presenting the general grip of the story of Potehi Puppet Theatre in Java that include: materials and way of presenting sequence actions stories that are taken by sehu and the board of pagoda when holding Potehi show in pagoda are as follow: 1 Sehu prepares the figures. 2. Sehu with Lauw Cu (the board of pagoda) perform Puak Poe rituals. 3. Sehu prepare the staging equipment. 4. The show is based on the agreed time with pagoda sides. Potehi shows for the Chinese community carry out ritual, social, and educational functions.Keywords: puppet theater; Potehi; Javanese performanceAbstrakWayang Potehi di Jawa. Teater Boneka Potehi di Jawa disebut sebagai pertunjukan boneka Cina yang berasal dari Provinsi Fujian dan Guandong. Diduga pertunjukan Potehi datang ke Pulau Jawa pada abad ke-16. Wayang Potehi dikenal sebagai wayang Cina karena bentuknya tidak ditemukan di wilayah Jawa. Wayang kulit di Jawa sama dengan wayang Purwa, wayang bertangkai di Jawa dikenal dengan wayang golek. Teater boneka Potehi dibawa para emigran Hokkian (Fujian) ke Jawa, dan dimainkan pada panggung permanen ataupun panggung yang berpindah. Ketika pertunjukan Potehi dimainkan di Kelenteng, digunakan stage yang permanen berbentuk rumah-rumahan. Hal demikian berbeda dengan pertunjukan yang dimainkan di luar Kelenteng, seperti di mal, galeri seni, gereja, atau festival-festival. Panggung Potehimerupakan perwujudan simbol dunia, yakni paling atas adalah istana langit yangmerupakan tempat para dewa, sementara bagian bawah adalah istana manusiabiasa atau tempat masyarakat biasa. Hal tersebut dapat digambarkan sebagaialam makrokosmos dan alam mikrokosmos. Secara keseluruhan, pementasanPotehi di Jawa masih mengikuti patokan, lakon, tatacara Potehi asalnya, yaitu:1. Sehu atau dalang menyiapkan lakon dan mengajukan judul lakon yang akandibawakan. 2. Sehu bersama Lauw Cu (petugas upacara) melakukan ritual PuakPoe. 3. Sehu mendapatkan persetujuan mengenai lakon yang akan dibawakan. 4. Pertunjukan digelar berdasarkan lakon yang telah disetujui dewa. PertunjukanPotehi bagi komunitas masyarakat Tionghoa membawa serta fungsi sosial, ritual,dan pendidikan.Kata kunci: teater boneka; Potehi; pertunjukan Jawa

Sign in / Sign up

Export Citation Format

Share Document