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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Wayang Nusantara: Journal of Puppetry
Aris Wahyudi
Institut Seni Indonesia Yogyakarta
Arts Humanities

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Galong dan Pathet Manyura dalam Pedalangan Ngayogyakarta: sebuah Perbandingan “Rasa” Aris - Wahyudi
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 22, No 1 (2021): April 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v22i1.4646

Abstract

Galong is a unique and interesting phenomenon in the world of paddling. His capacity as a pathet is still a debate today. Some groups say that Galong is its own pathet, while others say Galong is part of the Manyura pathet. The debate arose because his presence in the puppet show was in Manyura's pathet, but he had a distinctive and relatively prominent five tone. As a result, Galong has a different musical feel to Manyura's pathet. On the other hand, tone five is the dominant tone in sanga pathet and becomes a abstinence in Pathet Manyura.            Based on the pathet philosophy, I assume that the pathet in pedalangan and karawitan is only divided from three, namely Nem, Sanga, and Manyura. Therefore Galong capacity needs to be reviewed in relation to puppet shows. To that, the question is: 1) how does Playon Galong "rasa"? 2) What is the function of galong in ngayogyakarta pakeliran tradition?Analysis using martapangrawit's "padhang-ulihan" perspective and functionalism came to the conclusion that Galong belonged to the Manyura pathet. Five tones as thin tones are presented as "pancer" or padhang to give reinforcement to ulihan tones. Thus, the taste is more sereng than the taste produced by Playon Manyura which has padhang-ulihan tone is just as strong. Or in other words, that Galong's function is as a transition to the climax or manyura sampak in a puppet show.
Lakon Laire Antasena: Konsep ”Jembar Tanpa Pagut” dalam Tradisi Wayang Ngayogyakarta Aris Wahyudi
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 1 (2011): Juni 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i1.465

Abstract

Antansena adalah putra Dewi Urangayu, salah satu istri Bima. Dia adalah karakter yang unik di dunia wayangNgayogyakarta. Sebagai seorang ksatria Pandawa, Antasena mewakili kekuatan dan kebijaksanaan, rendah hati, danunik. Dia memiliki perilaku yang aneh terhadap saudara yang lain. Dia tidak pernah berkata sopan kepada siapapun, seperti Bima, ayahnya. Dia memiliki karakter yang khas yang tidak ditemukan dalam tradisi Mahabharata atautradisi wayang lainnya. Keberadaannya dilengkapi dengan karakternya, sejarah, dan kehidupan dari lahir sampaimati di dunia. Antasena yang benar-benar dibuat untuk menempatkan ide. Melalui mitologi wayang, karakterAntasena dari aspek kedatangannya adalah identifi kasi laut sebagai budaya Jawa akan menjelaskan konsep ’JembarTanpa pagut’, kualitas jiwa yang harus dibangun oleh orang Jawa untuk menghadapi kehidupan. Melalui hubungananalogi tersebut, kehidupan nyata orang Jawa harus memahami diri mereka ke tempat itu.Kata kunci: Antasena, wayang, konsep ’jembar tanpa pagut’ABSTRACTThe Antasena Play: ”Jembar Tanpa Pagut” Concept in Wayang Ngayogyakarta Tradition. Antansena was Dewi Urangayu’s son, one of Bima’s wives. He was a unique character in Ngayogyakarta wayang world. As a Pandawa knight, Antasena represented a powerful, wise, low-profi le but unique knight. He had such an odd behavior against his other brothers’. He never said politely to anyone, just like Bima, his father. He is the specifi c character in Ngayogykarata wayang tradition, because it will not be found in Mahabharata tradition or other wayang traditions. His existence comes with his character, history, and life from birth to death in wayang world. As a culture, Antasena is absolutely made for placing an idea. Through wayang mythology, a mean in Antasena character from his coming aspect is an identifi cation of ocean as Javaneses culture would explain the concept of ‘jembar tanpa pagut’, a soul quality which must be built by Javaneses to face life. Through such analogy relation, Indonesian’s real life (especially Javaneses) should understand themselves to place it.Keywords: Antasena, ocean aspect, ”jembar tanpa pagut” concept, life quality perfection leading.
Lakon Wahyu Cakraningrat dalam Paradigma Strukturalisme ARIS WAHYUDI
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 1 (2008): Juni 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i1.443

Abstract

Wahyu Cakraningrat Play in Structuralism Paradigm. Lakon Wahyu Cakraningrat as a cultural phenomenonis basically a means of communication between composer with readers, viewers and listeners to the puppeteer.It is created by using a symbol system in the puppet, so that in every play of puppet, it always contains the meaningwhich can be known and understood well by the composer, puppeteer, and the community. These rules manage thesystem of symbols in the phenomenon of puppet plays, in their capacity as the “grammar” puppet plays with usingLevi-Strauss’s structuralism paradigm. This is going to be gained the interpretation that Lakon Wahyu Cakraningratis a work of art presenting some knowledge of Javanese culture.
Bima-Drona dalam Lakon Dewa Ruci sebagai Vayu-Vata, Transformasi Prana dalam Pertunjukan Wayang Aris Wahyudi
Wayang Nusantara: Journal of Puppetry Vol 4, No 2 (2020): September 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/wayang.v4i2.5172

Abstract

AbstrackRelationship of Bima and Drona in Dewa Ruci story is unique. Eventhough Drona puts Bima into danger, Bima chooses Drona as a teacher. It is because Bima has not obtained a very good spiritual knowledge about life yet since a hero is supposed to have high spiritual qualities and good prayers. The wayang tradition describes Bima as a cruel hero who is not religious, and Drona does not have good brahman qualifications, either. This leads to an assumption that their relationship must be important and meaningful. The question is what does the relationship between Bima-Drona mean, namely Bima as the learner who becomes the recipient of spiritual knowledge of welfare and Drona as his teacher? With structural mythological analysis, it can be concluded that the relationshp between Bima-Drona is an identification of Vãyu-Vãta as the transformation of prana in the Syiwapuja rituals. AbstrakBima dan Drona dalam cerita Dewa Ruci adalah hubungan yang unik. Meski Drona menjerumuskan Bima, namun Bima memilih Drona sebagai guru. Apalagi hal yang berhubungan dengan pengetahuan spiritual yang sangat baik tentang kehidupan, di mana dapat ditemukan oleh pahlawan yang memiliki kualitas spiritual yang tinggi, doa yang baik, tetapi Bima belum. Tradisi wayang memaparkan bahwa Bima adalah pahlawan yang kejam, tidak berkarakter religius dan Drona belum memiliki kualifikasi brahmana yang baik. Fenomena itu memunculkan asumsi bahwa hubungan tersebut pasti bermakna. Pertanyaannya adalah apa arti Bima-Drona, yaitu Bima sebagai penerima pengetahuan spiritual tentang kesejahteraan dan Drona sebagai gurunya? Dengan analisis mitologi struktural dapat disimpulkan bahwa Bima-Drona adalah identifikasi Vãyu-Vãta sebagai transformasi prãna dalam upacara ritual Syiwapuja.
Resepsi dan Tanggapan Ki Timbul Hadiprayitno atas Gugurnya Dasamuka dalam Lakon Banjaran Sinta Setyoko Setyoko; Aris Wahyudi
Wayang Nusantara: Journal of Puppetry Vol 4, No 2 (2020): September 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/wayang.v4i2.4952

Abstract

AbstractKi Timbul Hadiprayitno’s sanggit (a way of storytelling in wayang perfomance based on particular dalang’s/puppet master’s interpretation) regarding the death of Prabu Dasamuka in his play of Banjaran Sinta is an interesting phenomenon. There are several characters and events that are not common in conventional puppetry traditions in general, especially in Ngayogyakarta puppetry tradition. Ki Timbul himself has said that some of the events and characters in the play originated from the comic by Kosasih. Thus, it can be said that there has been a transformation of the Kosasih text into the performance form by Ki Timbul Hadiprayitno. The question is: How does Ki Timbul Hadiprayitno respond to the Kosasih text through his new sanggit? The process of the transformation here can be traced by comparing the texts of Ki Timbul Hadiprayitno and Kosasih in order to examine their similarities and differences. The comparison of both texts is very important to show the origin of source text which becomes the basis for the creation of the new text in Ki Timbul Hadiprayitno’s sanggit. By this comparison, the causes of differences and changes of text and sanggit can be revealed. Furthermore, it can show that Kosasih’s text has influenced Ki Timbul Hadiprayitno’s play. There have been changes, both additions and subtractions. However, Ki Timbul Hadiprayitno still pays attention to and maintains the intertextuality of wayang plays intact. AbstrakSanggit Ki Timbul Hadiprayitno mengenai gugurnya Prabu Dasamuka dalam lakon Banjaran Sinta, merupakan fenomena yang menarik. Di sana dijumpai beberapa tokoh dan peristiwa yang tidak lazim dalam tradisi pedalangan konvensional pada umumnya, terlebih tradisi pedalangan Ngayogyakarta. Ki Timbul sendiri mengatakan bahwa beberapa peristiwa dan tokoh dalam lakon tersebut bersumber dari komik karya Kosasih. Dengan demikian dapat dikatakan bahwa telah terjadi transformasi teks Kosasih ke dalam bentuk pertunjukan Ki Timbul Hadiprayitno. Yang menjadi pertanyaan adalah: Bagaimana cara Ki Timbul Hadiprayitno menanggapi teks Kosasih melalui sanggit barunya? Proses terjadinya transformasi di sini dilacak dengan cara mempersandingkan teks Ki Timbul Hadiprayitno dan Kosasih dalam rangka mencermati persamaan dan perbedaannya. Persandingan demikian sangat penting untuk menunjukkan sumber teks yang dijadikan dasar penciptaan teks baru dalam sanggit Ki Timbul Hadiprayitno. Dari sini kemudian dilacak tentang penyebab perbedaan dan perubahan yang terjadi. Melalui strategi di atas diperoleh pemahaman bahwa teks Kosasih menjadi bahan perubahan pada teks lakon yang telah dimiliki Ki Timbul Hadiprayitno sebelumnya. Namun dalam perpaduan tersebut telah terjadi perubahan, baik penambahan maupun pengurangan. Namun demikian Ki Timbul Hadiprayitno masih memperhatikan dan mempertahankan intertekstual lakon wayang secara utuh.
Lakon Karna Tandhing: Konsep Pergantian Musim dalam Pemujaan Syiwa Aris Wahyudi
Wayang Nusantara: Journal of Puppetry Vol 3, No 2 (2019): September 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/wayang.v3i2.3148

Abstract

Arjuna, Indra’s son stands at his war car. General uniform was used making heroic, his left hand hold a bow, and right hand to balance arrow; in the other side Kurawa’s army, Prabu Karna, the Surya’s son, the commander to play his bow too. When bang of war drum to fill the sky, the both army toward central of Kuruksetra field. The millionarrows flaying in the sky like cloudy that closed the sun, and after their hundreds army to yell out dating, afterward the Kuruksetra field flood blood. Suddenly Karna’s arrow kicks Arjuna’s head. At once surprised who show it. Deities yell congratulation praying. Some minutes the war stop. Arjuna’s crown destroyed. Narada descends from the sky give crown to Arjuna that it is exactly with Karna’s have. The both hero collide again. Now, Arjuna likes Karna. Arjuna.s angry make increasingly. He get Pasopati arrow. Arjuna lift his bow. Another one who is look when Arjuna frees his arrow, suddenly Karna’s head cut off. Kurawa’s Hero, Surya’s son was dead. This story, in the wayang world it was called Lakon Karno Tandhing. There were can to get some problems. When Arjuna’s crown destroyed, Narada prepare a crown to Arjuna. I assume that deity knew that would happen. The question is “Why the crown was prepared similarly Karna have, so it is called Karna Tandhing? I am sure that the composer had a meaning ofit. Mythology-ritual analysis shows that this happen is continuity of deity level. All of the hero experiences always involve deity activities. Javanese philosopher composed this story to explain cosmic system that uses symbol systems Lakon Karna Tandhing.Arjuna, putra Indra berdiri megah di atas kereta perangnya. Pakaian kebesaran seorang senapati semakin menambah keperkasaannya. Kedua tangannya mengayun gendewa lengkap dengan busurnya. Di pihak lain, Prabu Karna, putra Surya melakukan hal yang sama saat memimpin pasukan Kurawa. Begitu genderang perang bertalu-talu memenuhi angkasa, kedua pihak berhambur ke medan Kuruksetra, saling menyerbu. Ribuan pasukan saling bertempur dan tidak sedikit yang gugur. Tiba-tiba anak panah Karna menghantam kepala Arjuna hingga mahkotanya hancur. Semua yang menyaksikan sangat terkejut, termasuk pula para dewa dewi di angkasa. Narada segera turun ke dunia, memberikan mahkota yang mirip dengan yang dikenakan Karna yang membuat Arjuna mirip dengan Karna. Kedua perwira tersebut kembali bertempur, seakan-akan Karna melawan Karna. Arjuna melepaskan panah pasopati dan tepat memenggal leher Karna. Karna gugur dengan kepala terlempar dan tubuhnya bersandar di kereta perangnya. Kisah ini dalam tradisi  pedalangan disebut lakon Karna Tandhing. Dari persoalan tersebut, pertanyaannya adalah: mengapa mahkota yang diberikan Narada tersebut mirip dengan milik Karna? Melalui analisis mitologi-ritual diperoleh pemahaman bahwa peristiwa tersebut merupakan kontinuitas dari peristiwa di tataran mite. Semua peristiwa yang dialami para tokoh epic selalu melibatkan campur tangan tokoh mite. Lakon Karna Tandhing merupakan pengejawantahan peristiwa kosmis yang menjelaskan perpindahan musim kemarau (Karna sebagai putra Surya) berganti dengan musin penghujan (Arjuna sebagai putra Indra). Kesemuanya diatur oleh Syiwa sebagai mahakala yang disimbolkan melaluiArjuna bermahkotakan “Karna”.
Transformasi Yudhisthira Mahabarata dalam Tradisi Pedalangan Wahyudi, Aris
Resital: Jurnal Seni Pertunjukan Vol 14, No 1 (2013): Juni 2013
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v14i1.396

Abstract

ABSTRAK Artikel ini menjelaskan konsep Yudistira dalam tradisi wayang sebagai kontinuitas Yudhistira dalam epos Mahabharata. Transformasi ini diikuti oleh konsep berkelanjutan yang dapatmengikuti dengan menggunakan konsep Jawa, asma kinarya japa. Dengan demikian dapat disimpulkan bahwa konsep Yudistira dalam tradisi pedalangan adalah sistem transformasi dilihat dari mitologi ritual. Meskipun ceritanya diadopsi dari India Mahabharata, namun Wayang Purwa menggambarkan pola pikir asli Jawa. Wayang Purwa telah diwariskan dari generasi ke generasi, namun telah mampu mempertahankan konsep aslinya. Kata kunci: Yudistira, mahabarata, wayang  ABSTRACT Hermeneutic Cirkle of Yudhistira in Puppetry Tradition. This article explains Yudistira’s concept in a wayang tradition as a continuity of Yudhishthira in Mahãbhãrata epic. The transformation was followed by continuous concept that can be trailed by employing Javanese theory, such as asma kinarya japa theory. It can be concluded that the concept of Yudistira in the pedalangan tradition is a transformation system viewed from the ritual mythology. Although its story is adopted from Indian Mahabharata, but Wayang Purwa illustrates an original Javanese mindset. Wayang Purwa has been inherited through generations, yet it has been able to maintain its original concept. Keyword: Yudistira, Mahabarata, wayang
“Jroning Salah”, Realitas Sosial Politik: Sebuah Proses Kreatif Karawitan yang berpijak pada Salah Gumun Subowo, Yohanes; Wahyudi, Aris
Resital: Jurnal Seni Pertunjukan Vol 24, No 1 (2023): April 2023
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v24i1.8330

Abstract

ABSTRACT“Jroning Salah”, A Socio-Political Reality: A Karawitan Creative Process based on Salah Gumun. “Jroning Salah” is a karawitan work that tells a social phenomenon based on one of Gender Barung, Indonesian traditional musical instrument, whose patterns called “salah gumun” become the basis of this artwork. This work is a new genre in karawitan projecting three “wrong” phenomena in Javanese: “Salah Gumun”, “Salah Kaprah”, and “Salah Kedadèn”. Therefore, the work is entitled “Jroning Salah”. The authors used acoustic approach whose point of view emphasizes combining two or more tones to express all ideas into karawitan compositions. The presence of dance in this karawitan composition is not a collaboration, but a strengthening of the presentation. Its function is to give tone pressure on certain instruments. Furthermore, the authors also implemented experimental method to avoid regulatory absoluteness for the sake of imagination development— an exploration process to find particular voices as alternatives that are relatively capable of representing ideas. Following the phenomenon of “wrong” as the source of the idea for this work, “Jroning Salah” was constructed in three repertoires entitled “Salah Gumun”, “Salah Kaprah”, and “Salah Kedadèn”. The presentation process was conducted sequentially and continuously, each of which was an expression of a situation in each story line.ABSTRAK“Jroning salah” adalah karya karawitan yang menceritakan salah satu fenomena sosial yang didasarkan pada salah satu pola tabuhan gender, yaitu “salah gumun”. Karya ini merupakan genre baru dalam karawitan untuk mempresentasikan tiga fenomena “salah”, yaitu salah kaprah, salah gumun, dan salah kedaden. Oleh karena itu, karya ini diberi judul “Jroning Salah”. Sudut pandang pendekatan akustik yang menekankan pada perpaduan dua nada atau lebih untuk mengungkapkan semua gagasan ke dalam komposisi karawitan. Kehadiran tarian dalam komposisi karawitan ini bukan sebagai kolaborasi, melainkan hanya sebagai penguatan presentasi. Fungsinya untuk memberi tekanan nada pada instrumen tertentu. Metode eksperimen digunakan untuk menghindari kemutlakan regulasi agar mampu mengembangkan imajinasi. Eksplorasi untuk menemukan suara tertentu sebagai suara alternatif yang relatif mampu merepresentasikan ide. Sesuai dengan fenomena salah sebagai sumber ide karya ini, maka “Jroning Salah” ini dibangun menjadi tiga repertoar, yaitu “Salah Gumun”, “Salah Kaprah”, dan “Salah Kedadèn”. Proses penyajiannya dibuat secara berurutan dan berkesinambungan, yang masing-masing merupakan ekspresi situasi fase cerita.
Campursari as a Hybrid Music: A Case Study on Three Models of Campursari Music Wahyudi, Aris; Laksono, Joko Tri; Abdullah, Zolkipli; Sriwulan, Wilma
Resital: Jurnal Seni Pertunjukan Vol 25, No 3 (2024): Desember 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v25i3.14343

Abstract

Some music researcher state that campursari is a hybrid music. However, this opinion is only based on the combination of diatonic and pentatonic tones. But, Clothier explains, what is meant by hybrid culture is not just a mixture of several types of culture, but there are historical aspects and certain conditions to declare its existence as a hybrid culture. Therefore, this research aims to review the campursari phenomenon to gain clarity its capacity on theoretical. This research is qualitative research using analytical descriptive methods through tracing the history of campursari music. The term campursari appeared around the 1950s when Waljinah performed the “Kembang Kacang” song in keroncong music. This song was adopted from Javanese musical compositions, and then developed until now. in terms of major genres, campursari music consists of three models, there are Waljinah (keroncong), Manthou’s (Javanese musical/pentatonic), and Didi Kempot (Western/diatonic music). Through the case of the “Kembang Kacang” song which was analyzed by the hybrid cultural theory of Bhaba, Livenson, and Clothier and combined with Titon’s theory, it was concluded that the Waljinah model campursari is first derivative (F1), the Manthou’s model campursari is true hybrid music (pure strain), while the other model of campursari called “gedanken” hybrid.
Co-Authors Abdullah, Zolkipli Joko Tri Laksono Setyoko Setyoko Subowo, Yohanes Wilma Sriwulan