Fungsi dan Makna Filosofi Tradisi Ruwatan dalam Ritual Hindu Bali (Persepektif Wayang Kulit Sudhamala dan Sapuhleger)

The ritual of ruwatan in Balinese Hindu society basically removes or cleanses oneself from dirt, which is practiced almost the same in general throughout Bali. In ruwatan using wayang kulit media, there are two types of performing arts which contain the function and meaning of ruwatan, such as; puppet show gedog (weak puppet) and puppet show Peteng. The source of the pangruwatan play presented by the puppeteers refers to the ruwatan standard although in practice it changes according to the situation and conditions of the performance itself. The play taken in the wayang gedog is Sudhamala, while in the shadow puppet show at night it is Sapuhleger. Ruwatan or in Java known as murwakala has a broad meaning not only a literary work and pakeliran but its function and philosophy, it turns out that it refers to the micro and macro essence of humans as being creative, intellect and intention. This research specifically reveals problems regarding; the form of the play, the function and meaning of spiritual philosophy, as well as the role of government in relation to ritual rituals. In revealing this, the researchers used qualitative methods, as well as several theories that complement this research. Ritual ruwatan pada masyarakat Hindu Bali pada dasarnya membuang atau pembersihan diri dari kotoran, yang pelaksanaannya hampir sama pada umumnya diseluruh Bali. Dalam ruwatan dengan media wayang kulit, ada dua jenis seni pertunjukan yang mengandung fungsi dan makna ruwatan seperti; pertunjukan wayang gedog (wayang lemah) dan pertunjukan wayang Peteng. Sumber lakon pangruwatan yang disajikan oleh para dalang mengacu pada pakem ruwatan walaupun dalam pelaksanaannya berubah menurut situasi dan kondisi pertunjukan itu sendiri. Lakon yang diambil dalam wayang gedog adalah Sudhamala sedangkan, dalam pertunjukan wayang kulit pada malam hari adalah Sapuhleger. Ruwatan atau di Jawa dikenal dengan murwakala mempunyai makna yang luas tidak hanya sebuah karya sastra dan pakeliran akan tetapi fungsi dan filosofinya, ternyata mengacu pada esensi mikro dan makro manusia sebagai insan yang berdaya cipta, budi dan karsa. Penelitian ini khusus mengungkap permasalahan tentang; bentuk lakon, fungsi dan makna filosopi ruatan, serta peranan pemerintah terkait ritual ruatan. Dalam mengungkap hal tersebut peneliti memakai metode kualitatif, serta beberapa teori-teori yang melengkapi penelitian ini.

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The Existence and Change of Wayang Potehi in Gudo, Jombang

IICACS : International and Interdisciplinary Conference on Arts Creation and Studies ◽

10.33153/iicacs.v2i1.21 ◽

2020 ◽

Vol 2 ◽

pp. 90-95

Author(s):

Siti Muslifah ◽

Rustopo ◽

Sarwanto

Keyword(s):

Performance Art ◽

Performing Arts ◽

Southern China ◽

Mainland China ◽

Political Policy ◽

Jin Dynasty ◽

Communist Ideology ◽

Puppet Show ◽

Wayang Kulit ◽

Exciting Development

Wayang Potehi is a traditional puppet show art performance originating from Southern China. Performing arts in the form of Chinese puppets that entered the archipelago along with Chinese ethnic immigration from mainland China. There are estimates that the roots of Wayang Potehi have evolved more than 3000 years. Stronger historical evidence showing the existence of the Wayang Potehi in China has existed since the Jin dynasty (265-420 AD). Wayang Potehi in Indonesia at the time had experienced the glory and helped colour the cultural diversity that existed in Indonesia. The political phenomenon of 1965, namely China or communist ideology, was associated with the tragedy of the G30 S / PKI. Governmental policies that forbid everything that smells of Tioghoa also contributed to the existence of Wayang Potehi in Indonesia. Wayang Potehi has been suspended because of this political policy. The reformation era in 1998 with the lifting of the ban on all things Chinese, opened a new faucet for the revival of cultural arts including Wayang Potehi. An exciting development also occurred in Wayang Potehi in Gudo, Jombang, East Java. Wayang Potehi is essentially an example of a work that is equated with a traditional drama. Based on its essence, Wayang Potehi is basically a puppet show, because the performance and structure of the show can be said to be almost the same as puppet performance art in general. Some phenomena and indicators in the Wayang Potehi performance art that show this include: (1) using puppet puppets; (2) played by the dalang as a narrator or storyteller; (3) accompanied by music; (4) performed or displayed in a particular place, (5) has a clear duration of performance; (5) presenting certain stories or stories; (6) has a bangesresem aesthetics which includes jokes, nges, gregret and sem as well as the aesthetics that exist in wayang kulit purwa in Java. The existence or existence of Wayang Potehi in Indonesia, is part of the performing arts that is transformed so that this art can still exist and be part of the performing arts in the archipelago. The application of the principle of adaptation in terms of the plays played, the place and time of the performance of the show is one of the strategies for the continuity of the Wayang Potehi performance art to be re-accepted by the wider community. This will certainly support the understanding of multiculturalism which in general can be used to prevent national desintegration.

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ANALISIS PENGEMBANGAN OBJEK WISATA UNTUK MENINGKATKAN KUNJUNGAN WISATAWAN PADA TAMAN MARGASATWA DAN BUDAYA KINANTAN KOTA BUKITTINGGI PROVINSI SUMATERA BARAT

Ensiklopedia Sosial Review ◽

10.33559/esr.v3i1.762 ◽

2021 ◽

Vol 3 (1) ◽

pp. 97-101

Author(s):

Dewi Anggraini ◽

Vina Kumala

Keyword(s):

Data Collection ◽

Qualitative Methods ◽

Tourist Attraction ◽

Role Of Government ◽

West Sumatra ◽

The Government ◽

Role Of The Government ◽

The City ◽

Descriptive Qualitative

The city of Bukittinggi as one of the largest tourist cities in West Sumatra has a leading tourist attraction which is one of the oldest zoos in Indonesia. This zoo also displays various Minangkabau cultural attractions, therefore the government named this zoo Kinantan Wildlife and Culture Park (Taman Margasatwa dan Budaya Kinantan). Based on preliminary observations, data shows that the number of tourist visits to Kinantan is not proportional to the level of tourist visits to the City of Bukittinggi. Therefore, an in-depth research is carried out on the development of facilities and the role of the government in that development. This study uses descriptive qualitative methods, with data collection techniques through observation, interviews, and documentation. The results showed that the analysis showed that the role of government in developing Kinantan, namely as a motivator, facilitator, and dynamist has been running well and can increase the number of tourist visits.

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The Aesthetics Effect of Surakarta-Style Pakeliran on East Javanese Pakeliran

Harmonia Journal of Arts Research and Education ◽

10.15294/harmonia.v18i2.11543 ◽

2019 ◽

Vol 18 (2) ◽

pp. 153-161

Author(s):

Sugeng Nugroho

Keyword(s):

Qualitative Methods ◽

Research Data ◽

Field Observations ◽

Analytical Analysis ◽

Central Java ◽

Puppet Show ◽

Wayang Kulit

This study intends to explore the aesthetics of East Javanese Shadow Puppet (Wayang Kulit Jawa Timuran) show as one of the people’s style puppet show model. The problems discussed are related to how East Javanese Shadow Puppeteers respond to the existence of The Surakarta-style shadow puppet shows that are not only flourished in the Central Java region but also in most parts of East Java. This study uses qualitative methods with descriptive analytical analysis. Research data are collected through literature studies, documentation studies, interviews, and field observations. The results of the study show that East Javanese shadow puppet show, both performance elements, the structure, and some elements of “garap pakeliran” have currently been colored by the idioms of Surakarta-style shadow puppet show.

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PERANAN DALANG DALAM REKABENTUK PENTAS PERSEMBAHAN WAYANG KULIT KELANTAN

Jurnal Gendang Alam (GA) ◽

10.51200/ga.vi.2826 ◽

2020 ◽

Author(s):

Azrul Azizi Amirrul

Keyword(s):

Qualitative Methods ◽

Legal Requirements ◽

Stage Design ◽

Attitudes And Practices ◽

Wayang Kulit ◽

Design Aspect

Kajian ini akan meninjau peranan dalang wayang kulit Kelantan dalam reka bentuk pentas persembahan. Dalang wayang kulit atau tok dalang merupakan seseorang yang mengemudi persembahan wayang kulit. Beliau memainkan peranan sebagai penulis cerita, pengarah lakonan, pemain watak, pengarah pentas dan sebagainya. Reka bentuk pentas yang sesuai akan membantu dalam keseluruhan persembahan wayang kulit. Wayang kulit Kelantan mengalami perubahan besar yang selari dengan arus pembangunan moden. Perubahan yang dilihat adalah melibatkan reka bentuk pentas panggung dan kesannya kepada persembahan wayang kulit. Kekangan tempat dan ruang dilihat mempengaruhi persembahan dan penonton. Objektif kajian ini adalah untuk mengkaji peranan dalang dalam reka bentuk panggung wayang kulit Kelantan dan kesesuaian dengan era kini. Kajian ini menggunakan kaedah kualitatif yang melibatkan pemerhatian penyelidik dan temu bual dengan beberapa orang dalang wayang kulit Kelantan. Berdasarkan data yang didapati daripada kajian, analisis akan dilakukan dalam menentukan perubahan yang sesuai dan peranan dalang dalam merapatkan jurang perubahan dalam masyarakat. Hasil kajian telah mendapati perubahan ketara yang wujud dalam reka bentuk persembahan wayang kulit Kelantan adalah aspek ruang persembahan akibat daripada penyesuaian peranan dan sikap dengan tuntutan undang-undang, kehendak penganjur, ruang dan keperluan penonton. Perubahan sikap dan amalan dalang pada masa kini adalah satu langkah pemurnian yang amat bijaksana dan rasional bagi memastikan kelangsungan seni wayang kulit Kelantan. This study will look into the stage design of wayang kulit Kelantan and the dalang’s role on this matter. Tok dalang or the puppeteer plays many roles in wayang kulit Kelantan such as writer, acting director,character actor, stage director and many more. As an important figure that drives the show, tok dalang also can help with the improvement and innovation of wayang kulit Kelantan. Wayang kulit Kelantan has undergone major changes in line with the currentdevelopment and the innovation of stage design is one of them. Space constraints are seen to affect the performance and the the audience. The objective of this study is to study the role of tok dalang in the design aspect of the show that befitting the current era. This study will use qualitative methods which involve observation and interviews with several dalangs in Kelantan. Based on the data obtained,the analysis will be done to determine the stage design that can bridge the gap between the old and the new. From the result, the significant changes in the design came from the legal requirements, the demand fromthe organiser, and the audiences’ space. Changes in attitudes and practices of the dalang especially in innovation can benefit the continuity of the wayang kulit Kelantan.

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Portrait of Pesinden Documentary Film: Role of Sinden in Puppet Show

Gelar : Jurnal Seni Budaya ◽

10.33153/glr.v19i2.3307 ◽

2021 ◽

Vol 19 (2) ◽

pp. 129-138

Author(s):

Moh Mahrush Ali

Keyword(s):

Documentary Film ◽

Primary Source ◽

Current Function ◽

Essential Aspect ◽

Puppet Show ◽

The Moment ◽

Wayang Kulit

ABSTRAKPotret Posinden merupakan film dokumenter yang berusaha menunjukkan peran dan kedudukan sinden pada pertunjukan wayang kulit. Perubahan yang terjadi pada sinden saat ini membuat pertunjukan wayang kulit menjadi semakin menarik. Hal ini dibuktikan dengan fungsi sinden saat ini, bukan hanya menembang namun menjadi unsur penghibur. Sesekali jadi bahan lelucon pada saat limbukan dan goro-goro. Umumnya, sinden harus tampil dengan dandanan yang tidak biasa, sebab saat ini posisi sinden menghadap ke penonton. Sinden menjadi aspek penting di dalam setiap pertunjukan wayang kulit, dan hal itu tidak bisa dipisahkan. Film dokumenter ini menggunakan gaya expository, yaitu memiliki ciri berbicara langsung kepada penonton melalui on screen. Dokementer ini memanfaatkan penuturan dari narasumber atau subjek utama dalam menyampaikan informasi atau isi pada film.Kata kunci: Film Dokumenter, Sinden, Wayang Kulit. ABSTRACTPortrait of Pesinden is a documentary film that attempts to show Sinden's role and position in shadow puppets performances. The changes that occurred in the current Sinden made shadow puppets performances even more enjoyable. This matter is evidenced by the current function of Sinden singing and being an entertainment element. Occasionally it becomes the material for a joke at the moment when it is “limbukan” and “goro-goro”. The general findings show that the Sinden must appear with unusual make-up because the position of the Sinden is facing the audience. In addition, Sinden is an essential aspect of every shadow puppet show, and it cannot be separated. To sum up, this documentary film uses an expository style characterized by speaking directly to the audience via the on-screen. So, the documentary uses the narrative from the primary source or subject in conveying information or content in the film.Keywords: Documentary Film, Sinden; Shadow Puppets.

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Role of government financial control in national sustainable development

PsycEXTRA Dataset ◽

10.1037/e503592014-021 ◽

2013 ◽

Author(s):

Andriy Lyubenko

Keyword(s):

Sustainable Development ◽

Financial Control ◽

Role Of Government

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Raiders Activity on the Market for Corporate Control as a Product of Coercive Entrepreneurship Evolution

Voprosy Ekonomiki ◽

10.32609/0042-8736-2007-8-80-92 ◽

2007 ◽

pp. 80-92

Author(s):

A. Kireev

Keyword(s):

Corporate Control ◽

Role Of Government ◽

Market For Corporate Control ◽

Basic Characteristics

The paper studies the problem of raiders activity on the market for corporate control. This activity is considered as a product of coercive entrepreneurship evolution. Their similarities and sharp distinctions are shown. The article presents the classification of raiders activity, discribes its basic characteristics and tendencies, defines the role of government in the process of its transformation.

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