scholarly journals Inao of King Rama II: The Transformation of the Panji Stories into a Masterpiece of Thai Court Drama Literature

SPAFA Journal ◽  
2018 ◽  
Vol 2 ◽  
Author(s):  
Thaneerat Jatuthasri
Keyword(s):  
Southeast Asia ◽  
Performing Arts ◽  
Literary Work ◽  
Thai Literature

This paper aims to examine how Inao of King Rama II was composed from the Panji stories and became a masterpiece of Thai court drama literature and how the story is unique as a Thai literary work. It finds that Inao of King Rama II developed from the Panji stories and contains various elaborations, embellishments and innovations, in order to serve the purposes of Lakhon Nai and Thai literature. A perfect combination of prominent features from other Panji stories and new creations in its Thai adaptation makes Inao a reference for excellence in literature and the performing arts. This paper was presented at the Seminar and Performances of a Shared Heritage: The Panji/Inao Traditions in Southeast Asia, organized by SEAMEO SPAFA on 2-6 March 2013 at the Bangkok Cha-Da Hotel and the Thailand Cultural Centre, Bangkok, Thailand.

scholarly journals GAGASAN CERITA PANJI SEBAGAI ASPEK KETELADANAN

2018 ◽  
Vol 1 (2) ◽  
pp. 117-130
Author(s):  
Henri Nurcahyo
Keyword(s):  
Southeast Asia ◽  
Cultural Heritage ◽  
Fairy Tales ◽  
Performing Arts ◽  
Role Model ◽  
Raw Material ◽  
The Creation

The Panji story is a popular cultural heritage during the Majapahit period, spreading to various regions andcountries of Southeast Asia. Panji's story is not just a romantic story of Panji Asmarabangun with Dewi Sekartajibut has many interesting aspects that can be studied from various sides. There are many fairy tales that tell the story ofPanji, as well as the performing arts of tradition, art, the art of chanting, and even the Panji Story enshrined in reliefsof dozens of temples in East Java and hundreds of manuscripts of Panji scattered in various countries. From thevarious stories of Panji is contained noble values that can be a role model in the life of society and state. In the story ofPanji there is a load of courage, heroism, unyielding spirit, creativity in running tactics, caring for others, love animalsand flora, not vengeance, do not apply cruelly, love to study, devoted to mother, love and master various art and so on. The Panji is an ideal figure so much is personified by many Kings throughout history. The story of the Panji becomesintertwined between fairy tales and facts. The Panji story becomes a myth that eventually becomes a reference in life. Infact, the example of the Panji Story is not only reflected in its traits as a person but the moral of the story contained init, as well as the inspiration that can be picked as a raw material for the creation of artwork and also the creativeeconomy.

scholarly journals REPRESENTASI KUASA RAMALAN: PANGERAN DIPENOGORO DAN AKHIR TATANAN LAMA DI JAWA 1785-1855 KARYA PETER CAREY DALAM AKU DIPENOGORO! OLEH LANDUNG SIMATUPANG

IdeBahasa ◽  
2021 ◽  
Vol 3 (1) ◽  
pp. 1-10
Author(s):  
Septiani Nur Alifah
Keyword(s):  
Performing Arts ◽  
Literary Work ◽  
Literary Works ◽  
Peter Carey ◽  
Dramatic Effect ◽  
The Past ◽  
Similarities And Differences ◽  
Descriptive Qualitative

Literary works are never separated from previous works or other texts. “Aku Dipenogoro!” is a literary work in the form of a drama script written by Landung Simatupang which was inspired by the power of divination by Peter Carey. The process of forming a literary work based on the acceptance of the past works can be said to be a reception. Therefore, this study used a reception approach to see how far the acceptance of previous works in Aku Dipenogoro!. The method used in this study is descriptive qualitative. In this case, the researcher compares the texts by looking at the similarities and differences. Furthermore, the findings are described. Based on the results of the analysis conducted by Aku Dipenogoro! as a literary work made several changes from the previous work (Peter Carey's Power of Prediction). These changes are used to give a dramatic effect in the work. Improvisation is used to get certain effects and aesthetics in a work. As a drama script Aku Dipenogoro! refers to dramatic effects in the performing arts (theater).

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

2021 ◽  
Vol 12 (2) ◽  
pp. 221
Author(s):  
I Ketut Muada
Keyword(s):  
Qualitative Methods ◽  
Performing Arts ◽  
Literary Work ◽  
Role Of Government ◽  
Puppet Show ◽  
Wayang Kulit ◽  
Broad Meaning

<p>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.</p><p> </p><p>Ritual<em> ruwatan</em> pada masyarakat Hindu Bali pada dasarnya membuang atau pembersihan diri dari kotoran, yang pelaksanaannya hampir sama pada umumnya diseluruh Bali. Dalam <em>ruwatan</em> dengan media wayang kulit, ada dua jenis seni pertunjukan yang mengandung fungsi dan makna ruwatan seperti; pertunjukan wayang <em>gedog</em> (wayang lemah) dan pertunjukan wayang <em>Peteng.</em>  Sumber lakon <em>pangruwatan</em> yang disajikan oleh para dalang mengacu pada pakem <em>ruwatan</em> walaupun dalam pelaksanaannya berubah menurut situasi dan kondisi pertunjukan itu sendiri. Lakon yang diambil dalam wayang <em>gedog</em> adalah <em>Sudhamala</em> sedangkan, dalam pertunjukan wayang kulit pada malam hari adalah <em>Sapuhleger</em>. <em>Ruwatan</em> atau di Jawa dikenal dengan <em>murwakala </em>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 <em>cipta, budi </em>dan <em>karsa</em>. 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.</p>

scholarly journals NILAI-NILAI KEAGAMAAN DALAM PARIKAN GONDANGKELI TARI TOPENG LENGGER WONOSOBO Religius Value of Parikan Gondangkeli in Wonosobo's Lengger Mask Dace Performance

2020 ◽  
Vol 2 (2) ◽  
Author(s):  
Mochammad Fikri
Keyword(s):  
Performing Arts ◽  
Literary Work ◽  
Religious Values ◽  
Oral Literature ◽  
Pragmatic Approach ◽  
Literary Research ◽  
Observation Methods ◽  
Observation Method ◽  
Direct Observation Method ◽  
Research Show

AbstrakParikan Gondangkeli merupakan salah satu sastra lisan yang sarat dengan nilai-nilai keagamaan. Parikan sangat menarik untuk dikaji sebab sepengetahuan peneliti kajian terhadap parikan ini masih sangat sedikit. Penelitian ini bertujuan untuk mendeskripsikan nilai-nilai keagamaan yang terdapat dalam Parikan Gondangkeli Tari Topeng Lengger Wonosobo. Pendekatan yang digunakan untuk meneliti parikan tersebut adalah pendekatan pragmatik, sebuah pendekatan dalam penelitian sastra yang akan menguak kebermanfaatan suatu karya sastra bagi masyarakat. Teori yang digunakan sebagai dasar telaah terhadap parikan tersebut adalah teori dimensi religiositas yang dikemukakan oleh Glock dan Stark. Data penelitian ini adalah sebuah parikan yang berjudul Parikan Gondangkeli. Parikan tersebut merupakan salah satu parikan yang digunakan untuk mengiringi seni pertunjukan Tari Topeng Lengger Wonosobo. Data didapatkan dengan menggunakan metode telaah pustaka dan metode observasi atau metode pengamatan langsung ke lapangan. Hasil penelitian menunjukkan bahwa dimensi religiositas yang terepresentasi dalam Parikan Gondangkeli Tari Topeng Lengger Wonosobo adalah 1) dimensi religiositas keyakinan atau ideologi; 2) dimensi ritualistik; 3) dimensi ihsan; 4) dimensi pengetahuan atau pengalaman; dan 5) dimensi pengamalan dan konsekuensi.Kata Kunci: nilai-nilai, keagamaan, parikan GondangkeliAbstractParikan Gondangkeli is an oral literature in the tradition of both poetry and dance set within rich religious values. The parikan is very interesting to be investigated due to the lack of study of the area. This study aims to describe the religious values in the Gondangkeli Parikans performed in Lengger Wonosobo Mask Dance. The approach applied in this research is a pragmatic approach, an approach in literary research that reveals the usefulness of a literary work for society. The theory applied as the basis for the analysis is the theory of dimensions of religiosity put forward by Glock and Stark (1972). The data of this research cover any lines of parikan entitled Parikan Gondangkeli. The parikan is one of the various parikans sang as a accompaniment in the performing arts of the Wonosobo Lengger Mask Dance. A literature review and observation methods or direct observation method are applied in the data collecting procedure. The findings of this research show that the dimensions of religiosity represented in the Parikan Gondangkeli cover 1) religious belief; 2) ritualistic; 3) external practise, 4) religious exclusivity (knowledge or experience); and 5) personal practice and consequence dimensions.Keywords: values, religiosity, parikan of Gondangkeli

scholarly journals The Aesthetics of the Hanoman Character in the Performing Arts of the Indonesia-Thailand Ramayana Stories

2021 ◽  
pp. 145-155
Author(s):  
Robby Hidajat ◽  
. Pujiyanto ◽  
. Hartono ◽  
Muhammad Afaf Hasyimy ◽  
Sri Wulandari ◽  
...  
Keyword(s):  
Southeast Asia ◽  
Performing Arts ◽  
Adaptation Process ◽  
Key Informants ◽  
Qualitative Descriptive

This article explains the aesthetics of the Hanoman character in the performing arts of the Indonesia-Thailand Ramayana stories. Ramayana stories are written by Valmiki from India, and Hanoman is described as a “white monkey” in these stories. Indonesia and Thailand are two states in Southeast Asia where the characters in the Ramayana stories undergo the so-called adaptation process. Hanoman is one of the characters. Therefore, the objective of this research was to describe the aesthetics of the Hanoman character in the context of performing arts. Qualitative descriptive methods were used. Data were collected through interviews with key informants and observations of Ramayana legacies in Indonesia and Thailand. The results show that the aesthetics of the Hanoman character are created from the image of local wisdom that is influenced by the spiritual mentality of Hinduism. Keywords: adaptation process, performing arts, spiritual mentality

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